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

PhD
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`,

J. D. Harvey

THE COMPOSER'S IDEA

OF HIS

Submix ion for

INSPIRATION

the degree

Of Ph. D.
at the University

of Glasgow.

Preface

The souroes

theoretical

letters,

I have drawn upon most of the

in the notes.

are specified

I have made my quotations

from ihioh

works stoop

translated
been
have
period which
body of literature
important
not

of composers of the,
into

English.

The lese

I have also

translated

there
doubt
I
though
are
no
could,
as
well
covered as
Strunk's
have
I
such
as
used
anthologies
reliable
omissions.
Source Readings in Musical History,
and in this way have
found

translations

of nearly

the most interesting

all

My ownf Trenohp Italian

writings.
by the untranslated
are indicated

and German translations

in the notes.
titles

The books which have played

my ideas,
Evelyn

apart

Underhill,

1940; E. Newman, 'Art

Jung!

Unconscious';

'Civilisation

Arthur

et alias Nietzsohet
'The World as Will
Schopenhauer,

Hans Keller;

Act';

'The Creative

Be Langer,

'The Dohumanisation

Laski,

'Feeling

'Ecstasy';
by

articles

various

and Form';

and

Hansliok,

of Mu$io';

)iarganita

in Music';

Koestler,

Freud,

Types;

Psychological

of Tragedy';
0. Reveez, 'The psychology

'The Beautiful

and the

Discontents'

and its

'The Birth
Idea';

in shaping

themselves,
from the composers' writings
area
'An
1911; Rosamond Harding,
'Mysticism',

Anatomy of Inspiration',
Creative

some part

Ortega

y Gasset,

of Art'.

I
have
books
read,
other
or any
the
tabulation
various
aspects
of
or
analysis
any
attempts
They
in
the
supply
of
composing.
process
inspiration
of
deductively,
followed
I
have
up
and
which
generalisations
None of these,

hints

which

I have developed

into

demonstrable

facts.

in orderly

the
been
has
and categorising
collecting
work
large
body
of evidence,
of
a
succession

previously

known but never

The original

quite

intelligible

in music.

plan

synthesized,

of the field

thus
of creative

revealing
action

CONTENTS

Introduotion
Part

THE COKPO3ER AND THE UNCONSCIOUS

of Inspiration

Pago I

Chapter

The Two Sources

Chapter

Direct

Chapter

Absorption

Chapter

Sterility

11

Chapter

Necessity

12

Chapter

Infallibility

14

Chapter

THE PROCE33 OF COMPOSITION

19

Chapter

Approach

20

Chapter

Actual

21

Chapter

10

Acknowledgement
Preparation

29

Chapter

11

Conscious

32

Chapter

12

The Gap

34

Chapter

13

The Second Sources

35

Chapter

14

Musical

39

Chapter

15

Stimulus

41

Chapter

16

Objects

43

Chapter

17

Nature

45

Chapter

18

Events

46

Chapter

19

Fine Arts

47

Chapter

20

Literature

50

Chapter

21

Poetry

51

Chapter

22

Story,

53

Chapter

23

Supernatural

57

Chapter

24

Autobiography

59

Chapter

25

Self-Delight

60

Chapter

26

Truth

61

Chapter

27

Compulsion

62

Chapter

28

Ejection

65

Chapter

29

Conscious

67

Chapter

30

Self-criticism

68

Chapter

31

Composers Advocate

72

Chapter

32

Chronologically

At

Unconscious

Source

of Unconscious
of Unconscious
as in Mist

Notes

or Shapes

'Given'

Period

tf

for

Preparation

of Gestation,
Inspiration

STI4ULI

TO COMPOSITION

Expression
of Music

Situation

Calculation
after

Inspiration
Conscious

Second

Powers

Part

II

THE C0IIP03ER AND 1113 AUDIENCE

Page 1

Chapter

Desire

to Impress

Chapter

Desire

to Ploase

Chapter

For Connoisseurs

Chapter

One Person in Kind

11

Chapter

The Muse

13

Chapter

Desire

to Share

14

Chapter

Desire

to Ignore

15

Chapter

Moral

or Didactic

18

Chapter

Desire

20

Chapter

10

ESSENCEOF THE WORLD, Introduction

21

Chapter

11

24

Chapter

12

Music the Essence of Thinge

Art a Reflection
of Life

26

Chapter

13

30

Chapter

14

or Diaoiples

Audience

to Move Audience

Communion with Race

Commingling with The World

III

Part

THE COMPOSERAND THE

Page 1

Chapter

Formal Order

Chapter

'Let

11

Chapter

(etaphysioal

12

Chapter 4

Platonic

14

Chapter

Aspiration

17

Chapter

6,

18

Chapter

Sublimation

21

Chapter

Eden

24

Chapter 9

29

Chapter

10

Aim

there

IDEAL

be Unity:
Order

Ideas

'Refuge

Intimations
Divine

of Divine

Intervention

introduotion

intruded

This

thesis

only

to clarify

them to their

the ideas,

logical

if

conclusion#

ideas.

I have

them in an intelligible

arrange

in the thought

background

show their

order,

is made out of oomposers'

of the time,

and extend

I have tried

necessary.

to be

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

objective

may be said

the thesis

that

composer of the period,

the voice

represents

his

idea

of the average

of inspiration

influenced

by his

own cultural-atmosphere.
The period
this

period

is

down their

oomposers wrote

to theoreticians,

or else

I wish to view

ohosen because during

views

on the subjeot

with

to 1700 most of the aesthetics

Previous

amazing abundance.
left

1700 to the present,

they

have not

simply

are

survived.

the period

Haydn in the same breath

as a whole and to consider

thore is a strong unias Stravinsky

formity

in aesthetic

the period

about

the music is
causing

alike

sufficiently

mental

It

gymnastics.,

and I think

attitudes

to be lumped into

even

one bag without

the span of the concert

represents

programme today. '

hall'

The thesis

therefore

does not

to isolate

attempt

any one

inspiration,
the
on
views
school's
one
or
even
any
composer's,
brings
in
time
light
the
'period
to
of
oriss-crossing
constant
what the Renealitp
dissenting

eccentric
all

of the composers thought,

with

an occasional

here and there. - Ky procedure

was to glean

statements

relevant

period

and simply

selves

suggested.

enough into

several

from all

categories

showing
position,
in compositional
procedure

quotations
in wording;
point

will

without

that

they have ohanged,

must speak for

the successions
reveal

and the composer's

inspiration

have not
if

themselves

of examples

a kaleidoscope

it

plays

the period.
and the

superficially,
subtle

differences

to illustrate

quoted

of different

name (and the implied

neatly

and the role

of'these

them-

to chronological

changed much over

only

they

themselves

regard

the

within

the headings

They seemed to organise

clearly

Tot

them under

to arrange

writings

available

one

shades of attitude,

cultural

atmosphere

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

in self-analytioal

as far as out topic is

to introversion.
The
throughout

writings

the period

by Freud and his transformation

and intensified
of
(to
the romantics)
had
been
a subject of poetry to a subject
what
Thais the render of Stravinsky's
views today demands
of science.
accelerated

to be told

just

not

truths.

self-analytical
is consequently
mostly

and mystical

The literature

richest

on letters
If

beautiful.

this

opinions,
of theoretical

and of the period,

at the other

essays

eto. 9
whereas one relies

end.

these

pages seem to be dominated

it
such as Wagner, Schoenberg or Stravinsky,
implies

but harshly

by a few composers
of course in no way

as oomposersq they have been represented

they have written.
to the amount of relevant
opinions

any superiority

in proportion

'in
itself
or something
music
as
arguments such
is
because some of the statements
'
this
to
else?
reourt
are apt
and the obvious solution
quoted tend to one We or the other,
(that it is always both) must only emerge dialectically.
- Contraif

Also,

dictory

opinions

here again

it

are sometimes

held

by the same oomposerg and

held,
they
be
were
why
shown
must

I have naturally
though

some of them,

(1895)

make strange

left

untampered

translationsp

Prose Works of Wogner

suoh as W. A. Ellis's
reading now, yet he strove for a faithful

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

and my interjootiona

all

dialectically.

finding,
italios

are in braokets.

if

possibleg'

words of

are the composers',

Part

TAE

COWPQBER
,AD

TIM

UNCONSCIOUS

L.

The

Souross

Two

The term inspiration,

oomraonly denotes
whether

known or mysterious
The unknown source

is

in order

and aotivitiest
which rings

It

to warrant

known and understood,

idea,

must be an un.

the name inspiration.

the miaterious

source

is

the

sea, human situations

in the external
world

onto mountains,

other muaiop or anything

art,
the composer and mirrors
a bell within

This latter

feelings,.

composition,

a composer a musical

the unoonsoious,

of the unconscious

projection

to musioal

or a whole work.

motive

source

atio n

when applied

whiob has given

that

be a single

this

lira

of

his

own deep

because symbolioallyp
source is partially,
the formerp howeverp is totally
obscure.
2L

Dizeoanaiou,,,
First

9ouroe

let

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

because my workaday

of his

Muse,

human living

howevers, the shadow removes itself

'only

when she feels out of

has intruded.
Always,

and she reappears'(1).

'In

lifer
double
lives
human
life
everyday
a
an
and
artist
word, an
'Without
life'(2).
for
cpscial
reason
any
rejoicing,
an artistic
wood, and vice-versa,
I may be moved by the most cheerful
creative
be
happiest
in
the
touched
may
surroundings
with
composed
a work
and gloomy oolours'(3).
flow
of creativeness
productive
dark

'Sometimes

I look

which entirely

curiously
by itselfs,

at

this

separate

I may at the moment be participating

ing
from any conversation
in
the
the
times
the
from
with
ms
at
goes
on
people
region
separate
is
to
Thus
that
over
brain
given
a sharper
musio'(4).
of my
division

occurs

in the artist

more than uoually

aware of his

than

in ordinary

other,

darker

men, because he is
face.

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

'Kunst kommt nicht von knnen, sondern von mtlsoen'(6)

. ........
.
comparable to the state of extreme joy and purposefulness
way -

only

of the mystic.
that

of creation

which

is

purposes
involves

outside

activity

unconscious

at the very

we may simply

and brings

deeply

normally

this

the process

within

we must now examine.

Ecstasy
present

is

It

obscure,
This

oneself.

of inspiration,

root
imply

to light

and for

our

by the word an intense

sensation

areas of the psyche which

are

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
to
iss
speak, only
world is mirrored
so
one
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
inspiration.

outside
it

And afterwards

happened'(9).
is

conscious
present

he scarcelyj

Some composers naturally

recipient

of supernatural

leave

we will

the matter
(belief
formed

one of overbelief
influence);
external

assume that

aid,

open for

the main point

others

the un-

do riot;

the difference

in accord

how

understands-

is

fashion

with

for

largely

or other

be shown later

which will

the

is

the
of
metaphysical
accompanies
revelations
awe
of
a sense
'When the final
shape of our work depends on,
the unconscious.

that

forces

we can later

than ourselves,

more powerful
thatt
or
passage

give

for

reasons

it

as a whole one is merely an

logic which
The power driving
us is that marvellous
instrument.
(Sibelius)(10).
it
God'
Let
us call
governs a work of art.
this

This
it'(11)

is

but taking

amazing force

best

tone,

some are emotional

of inspirationsproperties

others

us rather

of relevant

emphasise

than we-live
quotations;

'

the clarifying

is
in which the unconscious
condition
'I
to express in
would try vainly
writes:

of this

Speaking
masters

Olives

to by a list

testified
in

which

Tohaikovsky

bliss
that comes over me when a new
that
of
sense
unbounded
words
form.
to take on definite
idea opens up within
ras and starts
behave
Everything
like
demented.
Then I forget
and
one
everything
inside

me begins

before

one thought

to pulse
begins

and quivers
tumbling

I hardly

begin

over another'(12).

the sketch
'There

is

-3something

somnambulistic

to

vivre

It

is

'Dr.
Of
t

this

about

impossible

Paust'

'On ne. s'entend

ouch moments. '(13).

oondition.

to describe

11 oannot

Buaoni wrote

feel

it

pas

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

me'(i4).
'Intoxioationg
fantasy

artist's

or Apollonian,
whether Dionysian
increases
the clarity
of his vision'.

'We have all

stood

phrase

out,

those

experienced

as it

moments when a

clarifying

as though

inevitable,

in bas-relief,

weref

of an
(Sohoanberg)(l5).

it

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

light

wherein

impinge

objects

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
clarity.

'As for
is

kingdom

Beethoven

me'ezolaims

As the wind often

in the air.

around me end so do' things

,
(1i).
'
soul

within
last
being
these

I
alone,
am
-'When
men strange whirling
Fool

...

unequalled

not

...
blisses'.

Wagner often referred

begin

to'stir

shape of chords

forever

(Wagner)

strings

to me the idea

revealing

to bide

my
so do harmonies

about me too in my

often whirl

sounds take

good heavens,

does,

and the musical

forth,

a melody springs

'why,

by thyself,

until
i
of

to live

at
whole
for

(18).

to the blissful

dream-state

into

to
Yeats's
fell
a
state
very
similar
he
oomposingo
when
which
ideas
'between
and
raking'
and
symbols
when
sleeping
reveries
into
in
faut
that
is
float
brain
the
immense
of
significance
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

tromereadinge

resulting
'on fire

adolesoenoes

f E. T. . Hoffman date

the maddest mystioismp

with

I had visions

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

moment of inspiration;

'Inspiration
why not? -a

that

in a more than usual

of faculties

concentration
'Musio

doubt,
their

is

derangement

a`dolent

...
is not

it

'Poetin

of innermost
'It

passion,
individuals

remains
a sublime

ment of the intellect

intellect

moment

of emotion'

the rental,

all

deprive

apparently
reason

state

in a given direction.
inspiration,
but all
I (Chaves) (21).

cases of concentration
involve

'the

phrase,

the

psychic and spiritual

for a single purpose)
concur intensely
in a total
composing or investigating
concen-

of creatingg

tration

is

a state of mind, and a state of spirit,

of ecstasy (in its rigorous
sense of being

in which
of the individual

forces

me their

is

state

away),

carried

and

the moment of possession

or to use Coleridge's

is

when the creator

(Copland)
(20).

that

from

yet

like

We do not

and sensibility.

all..

oases of inspiration

love,

it

cans without

who are possessed

to be proved

exaltation]

call

that

this

an exceptional
(22).
' (Berlioz)

by it

of

pretended
develop-

inspiration

may be somehow oonneoted with the

is the absolute revelation
musioal inspiration
(Strauss)
(23).
secrets'
is

of our unoonsoious which remains

a manifestation
'an impulse for whioh we are not, so to
to us'..,..
inexplicable
(24).
(Honegger)
speak, responsible'

impulse .., blots

(Copland) (25).

'oreature
the familiar

sort'

'The Post is

'Kunio
express

is

the depths

out ...

onsoiousness of

the knower of the unoonscious"

(Wagner)

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

the most duotile

(26).

_5_
'Xusio

must oome from the shadows'

This has illustrated

those
is

experienoes

impossible

something

lese

beyond dialeotio

the recording

(Debussy)

(28).

in words of some of

whioh are supreme to the oomposer and whioh

to analyse
than them;
in

sinoe

suoh a process

they are absolute

the Hegelian

sense.

would lead

it

to

and speak of ultimates,

I-.

Absorption

if

itany,
their

world

outside
offer,

not most,

to the real

the unconscious

of

once there,

an eaoapel

of the composers in our period

It

they fins

world

and during

lime

itself

composition

they

perhaps

what it

enjoying
shut

has to

the door firmly

behind

them.
Kotart

the most musically

was perhaps

absorbed

composer

'You
know
that I am soaked in musio, that I am
immersed in it all day long, and that I love to plan works, study
He even wonders ifs when composing Idomeneo, he
and meditate1(1).
Haydn
will 'turn into the 3rd Aotv I'm so Obsessed with it'(2).
who ever

lived

was much the same -'"Usually

I oannot
point of torture,
before
beating
notice

me.

it's

If

faster,

ideas

musical

enoape thee,

an allegro

that

beating

my pulse

slowly.

they

pursues

I can get no sleep.

If

are pursuing

its

like

stand

men to the
walls
keeps

mop my pule*
an adagio,

My imagination

then I

on as as if
to his faoeq

plays

the blood rushed

Haydn smiled,
I were a clavier".
just a living
'(Interview
"
clavier
and he said, "I an really
...
(3).
Dies)
with

Other exampleas.
have I oompleted
(Beothoven)(4)"
another'

hardly

11 live

entirely

one oomposition

in my musiaf and

when I have ah idady begun

is as if the best in man could shut itself

up and
(into
the
daily
forth
dreaming'
him
halt
routines
sallied
of
only
(Brahms)(5).
life)
of
fit

#How often
often

i live

in my dreams,

'I live
'Not
and wherever

I take night

and sleep

day and day for

in

the daytime;

how
night;
$ (Chopin)(6).

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

I am oooupied

with

I go I have nothing

Elgar,

for

quoting

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

a theme from Gerontiuei-

'This

as

than the

more exciting

richer,

and upend mast of 'their

world,

outside

preferred

is

what

_7..
I hear all

day - the trees

theiro?

my musio - or have I sung

are singing

I suppose I have? '(9).

Rimsky-Koreakov,

of his

summertime holiday

in

the village
with
harmony
my

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.
of Stelyovos

appeared

to me the

a forbidden

Gluok,

hive

from our balcony

beings'

supernatural

'Aloestett

writing

my wife

in in despairs

of boas buzzing

in my, head ...

me no eleepj

Wagner writes

'I an living

hillock

the bare Kopytyeta

echo heard
or other

abooeg the forost

. ood-demon or his

forest}

the triple
sprites

'everything

wholly

to his

in this

Volohinyets

Tarilo's
-

mountain;

- seemed voices
(10).

of wood

a month now it

has given

seems to me that
' (ii).

I have a

'For
it

Isolde/muse

music ...

Mathilde
-

I live

Wesendonoks

in it

eternally.

And with

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

anz Malisande

perhaps

we are beginning

are my only

little

friends

to know each other

too

tell
know
whose
endings
we
stories
continually
perfectly;
well and
little
isn't
this
like
death
finish
tha
to
then,
a
work,
a
of
and
'(14).
the
love?
The
imagination
sufficiency
of
world
of
you
someone
absorbed

which
long

tyranny

the composer was perfect;

Poe's

'The Fall

exactly

the same was the

of the House of Usher'

held

over him -

he once wrote0 to see the sister

he would not be surprised,
Roderick Usher coming through his study door.

of

of the unwarns of this world of imagination,

devil
the
the
depths
'those
god
and
of
psyche
where
of
certainty
(he
has had reason to beware)$ 'the artist
images also hibernate'
imaginative
in
to
his
create,
order
to
powers
has
animate
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
but
inside
the
they
am
gay
on
outside
someas
eay'(16).
...

8.
.

thing

dream, - or
anxiety,
at met come proaentimont,
life
for
the
instants
deuire
oloopleaonece
melonoholy,
and
next
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.

the fso

of iosginative

a dreamer,

contemplating

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
another

AS:

Sterility

The other

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

keep us out - against

it we are helpless.
Here
draw a parallel
with mystic writings
at that

ruthlessly

we may profitably

when the mystic

stage
spiritual
in.

feels

refreshment,.

Me

that

of energy

from elation

goes with

to aridity.

is reduced

to such a state

and can think

Good, why should

Sovereign

since

they

consuming
thirst

thirst

which

a person

the earth

touch

neither

like

be borne,

but

reason

who dwell

an

in heaven,

company is

And this

one which nothing

torture

who can

She burns

the water,

of her-

in any earthly

suspended in mid-air,

reach

'her

She feels

all

nor mount to heaven.

and cannot

cannot

Meanwhile

own

Far from her

tc live?

among those

to his

mistress

no companionship

are not her Beloved.

She is

to her.

finds

she I believe

nor could

creature;

she desire

loneliness1

extraordinary

she is no lcnger
but her affliction.

of nothing

the

and the superabundance

and ecstasy

that

of intense

In it

itself.

life

sets

a period

the apprehension
of Reality
St., Theresa wrote of herself

smallness,

self

follows

often

the unitive

and precedes

has turned

mystic

Soul'

of'the

and inertia

depression

and extreme

Dark light

illumination

abandoned by God, by all

himself

with
is

will

a
quench,

it
than
that
have
quenched
water
of
with
any
other
she
nor would
this
is
to
the
Samaritan
Lord
and
water
spoke
woman
which our
denied

her'(1).

creation
hie)
(.:
of

For the oompoeer,

communion with God is

in whioh he gives

$an image to an ineffable

inner

life'(2)f

that

11 am afraid
When fever
there

abates,

is no oreationj

an exceptional
every

state

atom of one's

separation

it

gives

Turandot-'will

the aot of

parallel

never

experienoe
results.

be finished

ends by disappearing,

and without

because emotional

is 'a kind

of mind,
being,

art

over-eioitation

and e one ad astern

of every

...
fever

of malady,
fibre

' (Puooini)(3).

and

-10'I

felt

often

beautifully

I was silent,

generally

softly

from farther

and farther

devour

round my heart

Silonoef

But the word resounded

...
till

distance#

at last

now the old night

' (Wsgner)(4)"

me altogether!

'Shall

gently supported
was from inner joy= even hope

but it

wound itself

no longer.

elevated,

I ever again find

holds

I oould

hear
let

me again;

thought within

a single

it
it

me?

if
had
I
I
feel
never composed
au
nothing.
been
have
in
life,
that
the
never
note
a
my
and
operas could
(Weber)
(5).
really
mine$
Now there

is nothing

into
heart
my
see
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

instrumentations
Allegro

for

in 1790,

wroto

of Handel,

mechanical

incapable

could

one was the obstinate

to depreenions

of finding

Adagio

to on the next

organ referred

Haydn was subject

$quite

'if

and

page.

during

which he was
idea for many days

even a single

thereafter'(7).
So were Brahma ('oould
new fresh

in pathetic

as 'veiled
('the

...

believe

spirit,
time

the possibility
of writing

prolific
inferior

a 'state

that

the individualist

who is

whether

of the world

of depression
his

wife's.

death

world exists
passed most of his in a

musio needs freshness

'Do you really

it

of ever-increasing
of ideas;

I have only

and rabies'(11).

listlessness

art,

after

for

'striving'

old artistic

Rossini
and
more'(10),
me no
if
state,
more oheerfulp
similarl

mental

life

his

for

impotence

longing

with

by a mist

as though

finished

Elgar

apathy

sink

and Smetana who onoe wrote

strain'(8)1

of imagination
(9).
and pain'

fall

is not

type,

of surviving,

music?

'(12).

keeps for

of giving

with

himself

of

to his

Even the most consistently

one suspects,

the

any length

Thus Honegger incredulously

to be expeoted.

composers would admits

fervour.
inspirational

one who oreates

to periods of

asks

-115.

Neoensity

Unoonsoious

of

Now we move to composers acknowledgement

of the necessity

for

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
of unconscious

was a fairly

action

frequent

out inspiration

of some sort,

Of the simple
is

but

visitor,

certain

nothing

acknowledge
much is possible:
'Only

and complex respeotivelys

inspiration
could
neither

...
There are times

without

I must receive

the co-operation

that

they all

with-

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,
of inspiration

'(Sohoenberg)(l).

in the more extrovert

eighteenth
century#
blames the 'high-pitched
for
childish'
and
organ
mechanical
...
'it
he. feelss
is a kind of composition
the lack of inspiration
)Iosart,

I have unfortunately
give the whole thing

I detest,

which
And indeed
important
able
large

I'd

to go on with

reason

to force

myself

to finish

gradually

it.

If
-

and the work would sound like

instrument

then I might

it.

it ...
not been able to finish
up, if I had not such an
hope I shall be
But I still
it

were for

an organ pieoeq

get some fun out of it'(2).

'Debts

resemble

inspiration

in

this

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

respect,
a noble

i. e. one
work can

11 must have time and leisure to wait for inspiration,

from
I
only
some'r6mote region of my nature,
can expect
which
(Magner)(4)"
'people

Of 'Tristan's
be right.

"

Very well,

in its

do
ideas
if
not
routine,
and
(Kagner)(5).
them'.
make
'You imagine
it

is

only

possible

act

then all

way, but I9 poor devil,

come to me of themselves,

composing

to start

10o to work,

as. altogether

when we feel

will

lack
I cannot

too. easy a matter

enthusiasm,

(Dvorak)(6).

-12'In

art,

I am at the meroy of spontaneity.

as in life,

If

I had to composes not a note would come ... ' One Summer ...
my
the Seventh, both Andantes of which
made up
mind to finish
were on the table'.
baok into

I plagued

gloom au you well

for

myself

remember;

two weeks until

then I tore

I sank

to the

off

Dolomites.

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.
(or
the
first
the
theme
the
rhythm and
rather
of
oars
stroke
to the first
of the'intoduotion
charaoter)
head - End in four weeks the first,
third
(Mahler)(7).
done'
were
Even Riohard

Strauss

tradition,

able

Kapellmeister
found

alone,

the Composition

who is

movement came into my

movements
and fifth

often

to spin

the

with

aligned

out music almost

by craft

dull Alpine Sympbonyt

of his rather
the next libretto,
rather unpleasant:

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

-6Infallibility

When inspiration

Unoonsoioua

of
oomes, it

is

in
times
trust,
modern
amounting
and
the breakdown of the old metaphysical

treated-with

to rear

reverence
for

worship,

with

the visions

oartainties

are the one sure guide through a ohaos of

bypassing
The
in
the
is
of
reason
arts
more
contradictions.
fine
in
the
theatre
day,
arts
and
our
of
own
yet
seen
obviously
in the infallibility
foroes
in musio a belief
of the irrational
of the unoonsoious

in man is
over

than

stronger

the course

is

instinct'

'neither
instinct

only

infallible.

it

loads

us astray,

it

(Stravinsky)(1).

as the world

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

(Vaughan-Williams)(4).

If

long experienoe nor the most beautiful

- as old

'the

in his

gradually

of our period.

'Instinct
is no longer

and increases

anywhere elseq

...

can save you'(Debuaey)(2).

be instinctive
'have

talent

childlike

and spontaneous
spontaneity'

..

--

-13Liszt
artificial
natural

the analogy of the natural

'Why all this desire to stunt

employs

gardens

impulses?

and artistic

The first

...

garden

and control

time

the little

artist
mislays his eheare
grows as it should
everything
(For a revealing
).
67
Schumann
of.
p.
oontradiotiong
(Art

Ithe

must be)

blossom

of a natural
(Wagner)(6).

a one as has grown up from below'

growth

OImperious

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

Neoessity

and must'(5).

is.

drives

such

as the

should

of apples

garden-

culture,

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

'Creation

the

and

to that
iss

So it

and

one is

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
1somnambulistio

In the
that

'everything

flows

Tohaikovsky

condition'

ezperienoed,

from one's

pen ... invariably

good, and if
hinder
to
the oreative
obstaole
Domes
glow, the result
no external
best
'(10).
be
most
artist's
and
perfect
work.
an
will
used the idea

Wagner often
contexts
into

the inner

oantre

(in

'Here

'Tristan')

in perfect

depths

your inepirationd

'Trust

in

this

trustfulness

sort

of

I plunged

and from out this innermost

up its outer form'(ll).

of soul-events,
I fearlessly
built

of the world

'trust'

of

There is no alternative'

n (12).
(Web.
'nothing
faith

the deepest

is valid

(in

art) except what has sprung from

of the innermost soul ... If the object alone
it
will
never speak 'from heart to
oreationg

has not

inspired

heart',

imitation
and

product

of the most alien

is

then nothing
thoughts'

but

the most superficial

(Kendelssohn)(13).

in order to understand anything,

in something;
standing

first

that

is

erects

the higher
the pillars

nothing else than analysed faitht

ing remark of Sohubert's
not only

basis

one must first

on which feeble

of proof.

Intelligenoe

(Sohubert)(14).
Rousseau-like

This

believe

under.
is
interest-

condemns the

-14superiority
later,
it

over loving

of reason

Kiekegaardian

might

things

involving

notions

from Gabriel

come straight

in other

intuition

and people,

with

as it

Naroel

intoxicating,

lucid,

Siren,

wayward,
of divinity.

as seductive

elusive,

In the next

their

and knowledge;
11 only

find

myself

He has found

it

as fatal

and sometimes

and infallible

turn

we will

in

of the unconscious

essential

section

exciting,
as a

to the point

to the process

of

and the oomposer"s more specific

analysis
by unconscious
and conscious composition

composition'itselfp
of the roles

yet

much

fidelity'.

to the composer.

appears

anticipates

fidelity

These then are the attributes

general,

but

played

in

work.
THE

1.

types.

that

etc. ', to an already

some unconscious,

above or below,

existing

divided

roughly,

two

into

from what has gone

ocnsoiously

or the addition

of notes

set

may be very

follows

which

or is happening

before,
of'

invention

Kusioal

.,

PROCESS OF COUPC9ITION
-

such as logio

harmony,

of counterpoint,
2.

not of notes.

colour

That which follows

force,

or partially-apprehended

oontinuation

as when a

is
'right',
he
has
though
his
knows
not
next
passage
composer
(unconscious
follows
it
or
composer
unity),
when
a
some
out
worked
Nature,
national
as
poetry$ character,
atmosphere,
such
stimulus,

The first
laws,

etc.

experience

emotional

type

and natural

vulnerable
some extent

they alter

composer).

This

is

that

conscious

internal

or sensation,

for
all

it

is

own aooord

seem inby them, (to

which

in

composer to

i.

sort

or is

own

they may bei

less

entails

a different

comes apparently

second type

calaulation.

that. vhioh

of its

by some thing

which has its

from age to age and, from

or at any rate

emotion

though

login

to the composer who abides

The second type'is

caloulationg

of musical

subjective

partially

whiahi

is

and no
It

of oalou]Aion.

simply
turn

effort

aided'by

some

may be stimulated

This
in
the
happening
world.
external
or some
the
the
two,
of
grander
position
perhaps
occupies
for

responsible
flights
of imagination

the initial
within

the
of
work and
conception
the work.
The first
usually

r15.

to solidity

serves

lead

a Beethoven

with

the expressive

generalities

these

clearly

may be very
To illustrate

Busoni

accounts.

of mood and shape,

'First

wrotes

it,

a change of scene ooours

detailed

Jews Kanasse,

intermission
Hebrew.

this
big

to. paint

person,

site

alone

ghostlike

and above all

a limit
musical
a

that

synagogue ritual.

was considerably

this

would normally

stage

'concentration

and the right

choice

of portrait

of

rather

-From this there

melody could be used as

be familiar

to you from
of time between idea and
for

be the stage
III

with

to sound deep and gloomy.

instruments,

I used this

and gruesome,

shortened

me'.

(Presumably
inspiration

of musical

' as Dvorak said(l)

idea

'Now comes the execution,

all,

the ancient

a kind

old-, Jewish

of my artistic

himself
absorbs
composer
be'given').
to
arrives

The scene

an 'Orthodox'.

it..
will
certainly
-.
Thus the interval

conception

...

I have the idea?

an extremely

motive

between.

and silent,

the orchestra

with

then the con-

the Brantwa l,

in which

Weinstube

'Do you see now that

is

of course

the execution

on ...
a drop curtain

Old and surly,

imposing

though

The

and analytical

comes the idea,

then follows

with

shows a half-dark

mysterious

linked.

in compositional

types

the use of these

In the opera I am now working

following

to

seems almost

crystallised.

or one seeks for

ception,

logio

musical

examine two fairly

we will

to make the work

the two are so closely

element,

second determines

procedure

(and also

and elucidate

though

playable),

and waits

I wished

for

this

That determined

position

for

when the

the notes

song,

above

the choice

them determined

to

of

the

of key.
'In

this

ray

the exeoution

advanoes further

and builds

Charaoteristicsg
Colour
Harmony,
Form,
Atmosphere,
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,

...

the planning,

and the exso_____utionn.

'The first
s_

is

Busoni's

ideal

Busoni's

executions

his

two operationss
the
(D'Indy's
conception.
synthetic

do

and the ena

stio

into

subdivided

Busoni's
"

analytic
D'Indy'e

execution

his

conception,
being

"

planning

the act

simply

"

of

it

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

getting

interrelated
takings

in absolute

especially

generally

succeed each other,

and may modify

connected,
(the
idea
the
of
personal
to change the order
hand$ the nature
invoke

but'are

in the sense that

each other

the nature

the creative

may lead

element)

nevertheless'

artist

of his

of

preconceived
plant while on the other
the plan (the element of generality)
may

types

certain

'These two under-

music).

ideas

of musical

to the exclusion

of others

'The second period

in the creation
of a vorkj which we
is that in which the artist,
or ordering,

the planning

call

the elements

utilizing

disposition

definite

of his

decides

upon the
work as a whole and in its minutest

peviously

conceived*

details.
r

'This phase, whioh still

is

of invention,
hesitation

the beautilul'(3).

What 'the
is

determine'
musical

is

This
-.

orohestration.

'ton

themes being

himself

It

is

hoverer

this

partial

unconscious

'the

simply

d'ensemble'

work of art

at its

is

also

brings

writing

and

calculation).

its

they

him

communion with

as Dukas calls

'the

are closely

view of the whole, which must

inter-relation'(4).
their
control

view of the whole,

inspiration

momenta of

seek to

pf no Cocount unless

and inoomplete,

amount

must first

conception

the preliminary
use. and intuitively

preliminary

...
in intimate

exeoution,

with

assooiated,
foresee their

it

the phase of conscious

musical

the

but

uncertainties

of feeling
(Finally

delight

the full

a oertain

aooompanied by long

sometimes

and oruel

neoesaitates

that

or initial

we must first

profoundest

conceived

whole.

vision,
oonsider...

stage.

The inspiration

...

-17Lis not

the theme but

'A creator

this

(Sohoenberg)(5).

the whole work'

has a vision

has not existed

vhioh

before

vision.
'In

be formed

fact

the concept

in harmony with

of creator

coincide

spontaneously
'Alas,

harvest

and accomplishment

will

human oreatorsp
path

a hard road where# driven

reap their

and

and simultaneously.

the long

must travel

should

inspiration

the Divine'Modelp

wish and fulfillment,

perfection,

and creation

in

if

they be granted

a vision,

between vision

and aooomplishment;

out of Paradise,

even geniuses must

brows' (Sohoenberg)(6).

the sweat of their

'What the genius has

19
is
Hindemith.
vision
writes
...
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
a vivid

gives

vision

the conception

the original

of the talent
to retain

ability

of a creative

the keenness

embodiment in the finished

vaguely
it will

would detract
is always in

from

seems to be the

genius

of the first

piece

is

vision

until

its

aohieved'(7).

may be more or less

The vision
musical

details

'A composer
...
One
the
vision
of
character...

of the whole.

danger of losing
istics

the totality;

of

as to be still

only

it may be so
musical,
feeling,
the composer knows

to
more or"less
good-acoording
probably". lead. to-musio,
This famous vision
of Stravinsky's
of the feeling.
the strength
'One
ideass
by
day,
I
musioal
any.,
unaccompanied
when
quite
was
last
the
finishing
was
vision
I had a fleeting

de You in St. Petersburg,

pages of L'Oiseau

came to me as a complete surprise,

full
I saw in
of other things.

which

being
the
moment
my mind at
sage elders
imagination
a solemn pagan rite;
herself
dance
to
death.
girl
young
a
watched
fioing
that

this

vision

made a deep impression

Similarly,
soene'(man

rebuffed

Midsummer Marriage.
later}}.

the god of spring

her to propitiate

Tippett

describes

by girl)

seated in a circle,
They were sacri...

I must confess

on me'(8).

his

first

visions

of a

to the conception
of
'Even as I write now (two or three years

some of the excitement

central

of these

first

pictures

comes

"26bank....

In accepted

ovorything

to Yhther it fi s this
be fully
it
known until
Elgar
set your
but

writes

splendid

it
. "*

th_in,
preordained
is finished'(9).

eventualir

according

itself

which

not

will

'Thank you for allowing

me to
I fear I have been a very long time

to Binyoni

poem

has taken

or rojooted

this

ne all

the first

to overtake

time

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

Finally,

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
known in itself,

it

dream which can be

an allegorical
remembered by the waking mind; it is a go-betweens 'the musician
impulse
by
ioioontrolled
impart
to
the
an
urgent
vision
of
,
...
dream, he therefore
his inmost dream; like the second, allegoric
and after

the
notions`(Vorstellun,
npprosohea
thou* notions whereby it 4vaking

n) of the waking

brain

to

at last enabled
41%
is
for
itself,
not particularly
chiefly
reoorr,
a
preserve
the
inner
Whilst
yeti
communication
of
vision
with
concerned
,..
Space nor. Time, remains the most
belonging
to neither
harmon
tho
through
h hmto sequence of
inalienable
element of musiot
his

tones

in point'of

time

brain4

the musician

to strike
hoed ...
a compact with the
Thus, though music draws har nearest
into her dream-realm 4vis.
ina2'vorld
in
'is
'this
only
order
vii rahm}
...

faoultioA

is

reaches

forth

waking world
affinities

of semblance*
in the phenom-

human gesturot
to turn

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

This
his musiot it

in its
which

via

movement

our visual

inwards through a wondrous transformation,

them to

a plastic

...

enabling

moot immediate
the musician

had

is not the oomposer's0 who visualises

is rather the musio'a, which vieualiaee or portrays

'vision'

...

-19the unfathomable

or to put it

composer,

untranslatable

unconscious

the
more simply,
vision
is translated

(by

composer's
into the conscious

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

almost a double personality.

-6-

Approaoh

Sometimes 'the
sudden flash

of musio,

in Bist

as

takes the form ...

inspiration
but a clearly

envisaged

not of a

impulse

toward

'
the composer was obliged to strive,.
goal for'vhioh
a certain
When .. * this perfect
however, there
realisation
was attained,
flash
would have been no hesitation
of recognition
rather
a
that this was exactly
in
Thus Sessions,
what he wanted'(]).
speaking

of the Hammerklavier

diioe our next categoryt'the

to the point of recognition
41 usually
sort

and is very

may intro-

of a vague idea

gradual clarifying
as the striven-for

goal.

(Stravineky)(2).

my find'

recognise
implies

of statement

Sonata in partioularp

the proooss

of quest

This

and disoovery

common among modern composers.

'imagine

a building

which you perceive

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,
of palace.

mist

a sort

mist

and allows

Contemplation

one to see a little

gradually

dissipates

this"*

Sometimes a

more blearly.

lights
this
the
up
of
and
a
wing
comes
palace under
sun
of
ray
(8onegger)(3).
becomes
fragment
this
my model'
construotiont
with
And when satisfied
but
it
recognises
nises.
Britten

is

like

that

once likened

passage he not only

'there

was no other

composition

also(4),

and Wellest

approaching

a tree

in the mint;

the outline,
By. far

then the branches

the most eloguent

and finally

witness

reoog-

solution'.

to approaohing

in a mist

house slowly
fit

the-work-or

says much the sames

at first

we see only

the leaves'(5).

to the

'olarifying'

-20-

method is

furnished

we see not

by Beethoven

themes,

only

and thesis

of arms

in his

but whole structures

subject
was not discussed by older
introversion,
to lack of analytical
partly
the emphads on creation

quoted

books in which

withhtheir

movements

becoming more and more crystalline.

this

to foster

That

composers one may attribute

but mostly I think to

than disoovea,

rather

has tended

modern attitude

sketch

which latter,

more

as those

such statements

above.
L.
.

Actual

Notes or Shapes

'Given'

The third

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

the unprompted

motives,
as tones

4einfallen

about Einfalle
appearance

we usually

of a few tones - tones

consisting
but felt

of ideae4

- to drop ins

merely

often

as a vague sense of sound'

mean
not

even
(findemith)(l).

impression

'I have a visual

simply of a musioal shape

knowing the aotual notes '(Rubbra)(2).

without

'The melodic idea which suddenly falls

upon me.out of the

the prompting

of an external
sensual
in
imagination
the
appears
emotion
or of some spiritual
...
stimulant
is
by
It
the
reason.
uninfluenoed
unaonsoioualys,
immediately,
be
divinity
the
compared
'with
cannot
anything
and
of
gift
greatest
(Strauss)(3).
else$

blue,

ihioh

'at
personality
creative

emerges without

infrequent

rare
not

only

ability

the vivid

to pin

suoh moments with

moments there

it

imaginative

down in a final

most of us ...

only

flashes
thought

through

but also

and flashing

suffioe

for

a
the

settings

a few bars

thought'(Blies)(4)"

'Yesterday

for some reason or other,

suddenly
.. 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

(Tohaikovok7)(5).

symphony'
'I

sat down, began to improvise,

to my mood, serious

my whole endeavour was to develop

the rules of art'(Uaydn)(6).

by our scent,

guided

It

obstaole.
Lucky find'

is

very

on the keyboard;

melodies
you,

and not

that

your

inner

response

to

sense

composer

on the

twilight
if

look

that

fall

out his

him?
by that

a young

a motive

operatic

genuinely

and

concerned.

'Let

instance,

which

for

in

occurring

him

voice

even terrify

its

lips

breathes

will

something

him - but he
it opens its
part,
quite

distinct,

he
that
from
so unheard-of
wakes
...
has vanished;
but in the spiritual
ear it
4Ein_fall4,
idea
had
he
has
an
a so-called.
oat
musical

does it

..,
it

to

advice

character

will

at last

that;

seisableg
All
dream.

sings

kotive

gives

same process

very

perhaps

which

and a ghostly

intensely

out little

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

must put up with

mouth,

the

one character,

to him the most this

a-moving,

still

the

at

power ...

awakening'(Sohumann)(8).

of

the

with

an unknown

our creative

you can pink

a Leitmotiv,

of

connected

mysteriously

appeals

as an example

birth

if

is

Wagner

against

to
such come spontaneously
evon mores for it proves
rejoice

if

tone

of

a atimulue,

a good

but

at the pianoforte,

Finally,

tako

fecundates

indeed

nice

4iaproviso)

of our pleasure

we stumble

and suddenly

upon an idea,
in keeping with

it

and sustain

in expectation

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

'It

aooording

Onoe I had egized

or trifling.

'w grub about

sad or happy

is

his

but

please

motive,

marvellous

X, Yj or displeaso"Z?
legally

delivered

shape in that

What's

that

to and settled

wonderful

fit

to

on him

of absorption'(9).

10.
Aoknowlednement

of

Period

Many composers hold

oontinuous'(1),

though

of
that

sometimes

Gestation.

Preparation

the process

of composing

in the conscious

sometimes in the unoonsoious sphere.

impression3
from life
and the turning

sphere

The absorption
of them into

'is

and

of external
musical

-22-

becomes such a smooth process

expression

that

continuously

Thus Mozart,

water.
day'(2),

'I

and if

may be all

always

he suddenly

of this,

but

knows what he will

'work'

'workaty

to

that

she

later

when

do'(3travineky)(4).

more specific
for

sine

he is not

aware of it

he is

dies

'The real

work the whole time;

his

about

and

the whole

off

when she awakes'(3).

To make Stravinsky
word

things

is

'my motto

the more active

conscious

any more than milk

Nullo
always
my Muse go to sleep it is only

I let

composer thinks

it

scribble

could

and Beethoven,

linea;

divide

one cannot

and happens so

they

are

we may change
works,

separate

his

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
in the unconscious

evident
as-if

I had gone through

purpose
That is
or also

of its

(I
mind
an illness'

This

own.

purpose

feel

a kind of restlessness
...
Wellesz(5))
has
which
a
-"
in usually
a tidying-up
we.

to say, there is either

some conflict
there is some aspect of reality
which

to be resolved,
is

important

to,

it
the
mind
must
work
until
can grasp
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

the mind;

accomplishes

this.

The psychic

energy
collects

gradually

and when it

day experiences
it

to the oonooious

is

the confluence

form a higher
be a strongly

world;

is

a sort

evidence

has the solution,

Koestler's

of two unconnected

synthesis.
conducive

of unconscious
police
(memory) from day-to-

The occasion

suddenly

'bisooiative'
frames

reveals
act which

of reference

of the revelation

mood in harmony with

the character

to
may
of

the
which
material
opens
valves similarly
of
collection
the
last
be
it
might
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
this

for

no apparent

reason.

2.

The unconscious

23-

has another

also

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

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

alike

of a primitive
of art

stands

reality

which

such is

its

is

the great composer who is able to delve

layers,
by his desire
and this is effected

into

only

primitive

dissatisfaction

his

progressp

by aymbolq not by description,

only

obscurity.

It
these

can be expressed

'never-

the

symbols,

for

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

expression

rational

order).

The ego recognises

'When the opposites

and intellectual

are given

thesis

and antithesis,
the will
can no longer

equally
tension'

leads

this

antithesisp

it

functions

promiscuity

while

discloses

...

have their

for

motive

inactivity

vize

'where

of unconsciousness

common, archaic

of contents

a relation

exists

of which

numerous reminders
...
to both thesis and

territory,

a middle

of right,
in both

has an
' 'Insupportable

every

side

exhibits

still

forms

equality

to the source,

to activity

mentality
content

more advanced

participation
of the will
results;

by its

to a regression

that
where
and

the primitive
Since

unconditioned

a suspension
be operative

of oonsoiousness leads
differentiated
the
all
root,

a complete

counter-motive

strong

for

The two must come into conscious opposition.

its affinity
with both and its own disunity.

to by the egots

attested

desire

upon which

the

Jung
this
be
the
transcalls
rooonoiled'(6).
can
opposites
Xri,
'The
Freudian,
Ernst
function.
a
commenter
cendent
by
the
its
to
dominated
is
ego
and
put
own purposes process
in creative
Thus inspired
activity.
creation
for sublimation
solves

an inner

ocnflioting
particularly

forces,

his

against

one

Where man seems to be at

in creation,

he is

bead to the Almighty

still

sometimes

and to be carried
in the outside
when dependence on objects

to bend his

dominated

as a compromise between

as a defence

instinct.

activity,

back to the period

world

sometimes

sometimes

dangerous

the peak of his

inclined

contests

life'(7).

"

_Zq_
of Ian inner contest$

The solution

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
euroounting

the solution

to a problem

he had given

up a long

time ago.

'the
defense
by
Kris
mentioned
the
dangerous instinct'
contest
aesinot one particularly
between id and super-ego - is rather outside the scope of
The other solution

it

for

is

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

hei

thesis

the ignorant

had never

analyst,

The other

aide

of the coin

even dreamt

of.

where regression

in con-

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
cernod

it)q

the pro:, ass of resolving

motapbyeical

the ecrly

it

in hia book '; he Creative

! aotlorp
the ability

This

conflicts.
discuss
emphasie and we will

embryo of man to rise

later.

Lot'

to virtually

such as amputation
or event
of re-adaptation
into one segment,
being slices
the flatworm,
the
the
contain
code,
potential,
Celle
primitivo
vhole

not

just

the

oonaidera
organivms such as the flatworm or

of primitive

organism

involves

of a spocialised

part),

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

behaviour
lawn
the
of
of which creative
scale
same
end of
'Differentiation
forms
the
other.
and specialregression
isation

of the parts

are neoeesary

for

the normal

function-

abnormal conditions
call for radical
include
the
a
retreat
of
over-exerted
may
which
mcaaures
differentiated,
less
functionally
to.
structurally
a
part
ing of the whole;

lees

stages

uieoialised
'part'
may be the newt's

if

the whole is
Amputation

to survive.

stump,

The

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

-25in"the

operative

total-pattern-responses

undifferentiated

into

not

the wombs at least

ideation,

into

the pre-verbal,

the process

sets

experiences

physical

data which

do not fit,

emotions

other,

mutilation

disrupt

forms

of

games of the tan-

The ohallenge

oases a traumatic
laceration

by
-

which contradict

each

or mental

observations

which

retreat,

of the dream.

ib in all

if

in arts

styles

approved

dissonances
Create mental confliotp
The 'creative
or scientist
of the artist
stress'

which

experienced
perplexity.

to the

corresponds

'general

the anabolio

animals

a similar

pro-rational

going

nervous

long-outgrown

into

oonoioue, the wonderland-logio

which

the adult

of its

is

of incubation

The period

eyotem.

in

- suoh
powere oi, the embryo in the womb or the

as the regulative
"

are inhibited

but

past

alarm reactions

of the traumatised

soquonoo of de-differentiation

- catabolic

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
stump),

amputation
obeesoive
ises

preocoupation

ation

it

the whole mind;

birth

by giving

is not

a psychological

will

either

to a new systems

of a degenerate

It

with

to the single-minded
and
the idi efixe
... which monopol-

oorreeponde

tissue

the purpose

theory

Koestler

lead

to its

reorganisation

or to the oanoerous

of ideae'(p.

of this

463).

thesis

to oryotalliee

and I doubt whether

theories
could apply their
oompreits intangible
to life,
relationship

of creation,

or anybody also
to musio, with
hencivoly
the
Koeatlor
beyond
of
sort
general
statement
and go
(about weaving threads. into new patterns
and so on),
it

unsatisfactorily

with

prolifer-

its

lees

aesthetically

makes
luImping

oomplez:

sister-arts.
In the present

section

we will

exemplify

how composers

or wish has set them off on a course

some experience
boon
has
pursued completely
unoonsoiously,
which
of creation
by
in
by
perhaps
confluence
material
of
regression,
perhaps
teal

that

experience
the memory: of course the initial
may be a vision
(like
Stravinsky's
of the Rite of Spring) which is itself
culled

from

gestation
few years

the depths

of regression,

between the vision

later

must involve

and the period

and the finding

continual

of

of the music a

regression

to the

-26levels.

primitive

Here are some ezamplest

Berlioz,

writing

Romeo and Juliet

third

hardly

aott

own work on the subject

as if

in pain

And during

life
months, What a burning,
exhilarating
on the halcyon sea of poetry;
of floating
breeze

sweet,

soft

golden

sun of love

the godlike

of imagination]
unveiled

of two deys4distraoted

of

those

I led!

Ah! the joy

wafted

onward by the

I felt

by Shakespeare)

where the temple of pure art raises

Similarly
to the sky' (9).
The Fantastic
by the experience

'during

warmed by the rays

isle,

spired

iron

the Domposition

to win my way to that

strength

the

the fullest

with

laters

many years

'After

a hand'of

to myself,

I said

'Aha I an lost'(8).

convictions
his

breathing,

at my heart#

were squeezing

as Juliet:

Smithson

Harriet

with

of Shakespeare's

of a performanoe

me

within
hidden

blessedg
its

of that

soaring

columns

Symphony was in-

to its composition
months previous
Wanderings having heard Harriet
slandered
six

by a friend.
Wagner's

near ship-wreok
ott
impression
on him, later

an indelible

'Brom my own plight

Dutchman's

the billows,

the ooast

of Norway made
to emerge as 'The Flying

he won a psychic

force;

from

the sailors'

shouts and the rook-bound

'He
Northern shore, a physiognomy and oolour! (l0).
... never
fascinate
fantasy'(il).
to
my
ceased
the storms,

'I

striking

anything
this

reason
'I

(the

You will

the Burgundian

generally

say that

hillsides

is worth

this

and it

a sincere

retained

is

...

weighs

passion

the ocean does not

and my seascapes

But I have an endless

landscapes!

to do anything

whenever
for

preoisely

I teed on memory'(Debussy)(12).

that

have always

sea).

mind,

been able
really
happens in my life;

have never

store

for

Her

exactly

might

wash

be studio

of memorise to my

more than reality,

too heavily

the charm of which

(Debussy)(13).
on our thought'

Piano
Andante
Quartet:
the
his
of
seoond
Faure wrote
of
11 remember wishing to set down - and even then it Was almost
unoonsoicusly
ringing

--the

one evening

very

remote

at Nontgansy

memory of the sound of bells

...

The tolling

of these

_27_
bells

draw out all

aorta

'Something

way:
01

in a trangely

working

memories and mental

autonomous,

yet

observable,

amucin3 has happoned to me recently,

very

Whilst

of a thousand different
a kind of ahyihm4oal

I was thinking
importanoo whatscever

canoe took

of a Spanish

And in the next

of raurege

paaaaco we coo the oonfluonoe

patterns

(14).

of idoae'

things

of no
theme in the style
And this

shape in my mind.

theme just
me in any

went on its own uayg so to speak, without. bothering

4it
devoloped of itself
became harmonised
way ...
differont
ways, changed and underwent modulations,
by itself.

Germinated

memories over

I have been in the world

since

musical

textures

strange

is

have become part

which

this

he tried

to set

a somewhat long

wrote

the first

could

not progress

he had quite

Stanford}

writer,

throe

versos

an inch

forgotten

his

early

But how
this

the mind,

I were to write

years old
He
poem as a sons.
but after

enough,

ton or eleven

...

of my

was fourteen

dramatic

easily

it

those

- on all

precise working out of an idea in this Way! If

it down it would have a very definite
form'(15).
'When he 4tho

in fact

of myself.

funotioning'of

unconscious

any

drew upon the store

it

Obviously,

in

efforts,

that

later,

years

he
when

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'
fourteen
the song was written
years after
when,
and
came
published,
the first

be found
three

the juvenile

verses

were ...

attempts
practically

in an old box, and

identical
with

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
those

describes

Berlioz

how he had difficulties

for

two months

Its

'found'
typical
solution
was
with
particular
with a
'I fell
by the Tiber,
into
the
during
walk
a
water
eccentricity
to
knees.
had
in
I
the
After
up
my
mud
pulled
and was stuck
phrase.

myself
pioce

out I started

the long

sought

phrase

and so the

was dond(17).
Mahler

problemes

'In

doacriboe,
the last

happenod to me that
world

to sing

of literaturo

the name solution

of long-borne

novmont of my second symphony it

I actually
searched through
back to the Bible ...

the entire

oo

2$..

'How I got inspiration

for

the nature of artiatio

this

I.

profoundly

signifioant

oreation.

over in my mind the inclusion

40n
account of Deethoven0s
movement.
At this time Dalow died and I was present

Por a long time

of a chorus in the last
ninth,

for

be hesitated4

I turned

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

the Kopstook

intoned

Then the chorus

over.

from the organ

This

"Resurrection"!

chorale

of

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")

oould

' .. * had I not already borne this

I have had suoh an experienoe'(113)T

work within

men how

When Berlios

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).

after

should

a lifetime's
that

to pyeelf

of musical

ohortbund

to

of the Mueio-drama came to Wagner

'Whilst
to picture
trying
meditations

the Bona

Similarly
half

a sort

Art-work

combine for

their

in which

all

own highest

conscious glimpse of that very ideal

been forming in my mind and hovering

the single

art-varieties

I lit
upon a
completion,
which had unconsciously
before the longing

artist'(20)u

of creation in ... primary through all

in other social activities,
of interest
the apparent manifestations
doing
is
these
to serve,
other
the
social
activities
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

and religion'),

here is a aase of the oppotte proossa, the

inspiration.
the
in
Soon after Brahms finished
follow
ozperisnoe
the Your Serious Songs he was surprised to hear of Clara
yinally

-29Schumann's deathl

of her death

premonitions
time.

he oonsidered

He wrote

the songs prophetic,

that
had been deep inside him for a long
'Some ouch words as these

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

often

whispers

and stirs,

whioh intime
(A
musio'(23).
similar

may ring

out in the form of poetry

perhaps,

his

that

Kindertotenlieder
Finally

dreamst

Oase is

whioh

by Mahler's

or

belief

on those border-line

we may touoh lightly

have in many oases provided

dreams in relating

unoonsciously

wore prophetic).

and oonfluenoe

problems

furnished

quite

memory and peroeption,

have been the ground fordnnumerable

of

solutions

similar

'Whatever

of memories#

oases,

the role

2 believe

of

them to

in my oomposing

solutions

aotivity'(Stravinsky)(24).
11.
Conscious

Now we. turn

unconscious and its

Preparation

Inspiration

to the deliberate

for

preparation

the required

producing

for

answers that

utilisation

of the

the oracular

function

is expected

of it.

of
This

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

is usually
it

into

'trigger

or ecstasy)

are sought.

There aro plenty

of illustrations

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

iss

I think,.

conditions':,

of the first

way,

beoaum4 to an artistic
for

beauty

and

is

he
is
that
so
natural
and
unceasing
stimulation
aesthetic
doliberate
being
its
functional.
anything
or
of
unaware
in
to
this
that passage where ho says
nearest
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).
(the
'before
And a more introspective
attitudes
work) organises
itoelft

ups and ferments in his brains it must be

preceded by much preoccupations engrossment with self, a being.
builds

itself

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
it

is

essentially
Stith
in them.

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

a long. tiers

(9).

And later
this

deserve

into
voyages

to prepare

he vritest

end,

'It

...
the domain of living
'Katya

terrible

sheer

Myself

happy trigger

JanAoek of
know that

I need to be heated,

a steam engines

for

Taal cork'(aonegger)
.
is neoesoary to do muoh work to
to undertake

one of those

brief

ausio'(10).

Xabanova' t 'I

was caught

by it.

You

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).

and sensitive
This
misfortune
...

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

it

thing

01 composed Macbeth in the Woods and mountains of

immersed
I
in
the
For
Year
a
poem#
myeeif
Switzerland
...
Then
it.
I
the
dreaming
came
work
musical
which
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

und then suddenly

of words;

musioal

piepe

of light

into

into

would flash

his

the idea

mind like

of a whole

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

I have sifted

that

all

of his

writes

to servo

out as likely

my purposes

it

blending

Every
with my musical oonooptiona.
to me in musical dress
involuntarily
I
...

appears

character

each a musioril
they

otivea;
'I

I do not seek for

...

come in all

places

am in the throes

at all

of St.

peroonality
give

soasona'(14).

Ludmilla,

and have nothing

I sing

it

quite

partioularly

business
over

interests

me and

I commit it

my emotion,

arouses

a poem that

to

character

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

and

to memory ... After some time

the mueio is born'(Castolnuovo-

naturally;

Tedesoo)(16).
Newtan reports

Ernest
Bleep,

and in

the morning

of Hugo Wolfs

'He would go to

the song would be already

made by

in
full
that
formed
alchemy
so
noting
some ystorious
..
'
keep
hardly
his
brain'(17).
his pan could
pace with
$a musical

eubooneciouily

'The idea

the seed Dorn; it grows inperoeptthe

When I have invented
or disoovered

mind can operate

creator's
(Sohoonberg)(18)e
tones'
a row of

with

in secret.

ibly

it

is

down

like

book and 'go for a walk

shuttvp-vthe
of a cong .. "I
I
think
it
for
else;
no
more
of
perhaps
take
up something
or
though,
When I come back to
Nothing is lost,
half a year.

beginning

it

again,

for

it

has unconsciously

me to begin

'Generally

working

taken

a new shape and is ready

at it'(Drahms)(19).

in3piration
by
undorotund
we
musical
speaking

to
molody
a
one
motives
occurs
a
which
of
the
intellect,
by
immediately
especially
unsolicited

the invention
suddenly,
after

awakening

in the early

morning

or in dreama,

Sach's
-

-32words in

'Die

Meiotersinger'i'laubt

mir dos Mensohen Vahreter

Wahn wird

ihm in Trauma aufgaton'.

Am I to believe
imagination
has been at work all night independently

has been this

a certain

in my composition

point

profitable

the lid

at night

in spite

way of continuing

If

my

of

in the platonic

consciousness
and without
recollection
4i. e. of a former inoarnation4.
'My own experience

that

sense?

I am held

and cannot

up at

see a

of much delibration,

of the piano

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!
close

12.

The
Strauss's

mention

'The whole of research

in a former
experience

Cap

of Platonic

recollection

and learning

is

only

is

interesting.
4of

recollection'

life4

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

inspirations,

up in inspirations

motioned

the store

as supplying

Previously

come from?

layers

infantile

where then does new knowledge

we have

of the mind and memories generally

of old

for

material

the new work.

be
the
depending
whole
on whether
story
not
may
may or
God. Stravinsky,
is considered
to involve
inspiration
believes

religious,

profoundly
'What does "creation"

it

does not;

or not
although

to Craft's

question

'Nothing.

he replies

mean to you',

This

Only

to
hover
halfway
view
seoms
God can oreato'(2).
idea,
the
the
tion
musical conception
ge
and
:
'through
what
(which
be
fashioned
out of many
must
execution
the successful
inspiration,
is
hit
of
a
secret
a thought
upon
ideas) are
Busoni's

which

leads

The origin
seeng heard
only

into

us ...
idea
the
of

By tar
must leave

of Catholic

can sometimes

or read previously.

the elaboration

inspiration

the sphere

of material

the greater

be referred

After
existent

all,

mysticism

...

to something

any human work is

on the earth'(3).

number of oomposers simply

believe

God. Here are a few eaamplesi

does involve
has infused
Spirit
behind me what the Eternal

11
into

-33and bide

Qy ooul

me oomplete'(Beethoven)(4).

'the gift

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

'Consider

it

Sieg'(5)"

4new idea} as a gift

'A good theme is a gift

(Drahms)(7).
to possess it"'
'It

is

the greatest

from above (Sohumann)(6),

from God.

of the divinity

gift

it

"Deserve

'From my own experience

I know that

can be a subconsciously
(Sohoenberg)(9).

received

'There

great

is no-one

4thematio

it

him to whom God speaks,

except

to him'(Hello,

is

inspiration
those

at the heart
layers

primitive

have mentioned'and
If
musical

the metaphysical

the components

all

to him for

Symphony.
something

Yet,

'beyond'

that

Ninth

them in an entirely

we
there.

Symphony,

new way, then

a great

already

cause lies

the present
Suffice

is responsible

imagination,

self'

in the worldt'and

existed

or something

arrangement?
be
metaphysical
solution

or certainty.

unified

meohanisms whioh lurk

we may asks what caused this

In this

psyche for

seems to involve

It

'pure,

to

disoovery, 9 the discovery

of
ing,
the Ninth
of the components which form a new th

we are indebted
a new order

the

makes

from preparation

of Beethoven's

already

rearranged

merely

leap

of the subject.

of the mind,

and emotional,

Beethoven

inexplicable

This

and the

of the now masterpiece

and originality

by

quoted

The immense gap between what has gone before

the mind stagger.

unity4

from the Supreme Commander'

gift

and in the moment in which God speaks

Messaien)(10).

novelty

be

and oannot

else'(Strauss)(8).

oompared wth anything

astounding

in order

for

ors as St.

author
it

at least

to say that
progress

'here',

the mystery;

or physical

it

rearrangement,

lies

in

too deep in the

says,

with

clarity

gap occurs

and achievements

Thomas Aquinas

the

whether

to'disouss
in this

a new

all

of the

'since

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

God is
Being

can

-34-

The Second Sources

STI14ULI

A plethora

of argument

by the pine

trees

behind

of Romep for

formations

thin

what tally

lies

make about what inspired

oomposers often
inspired

TO COMPOSITION

the simple

assertions

them, when a work is

instanoe,
we may wonder

of wood have to do with

vibrations

in our ears.
'Art

delines

into

of human vibration.,.

quality

another

'Poetry

intimate
essence,
,
comments a third,
depths

is

that
'heart',

Music expresses

the composerls

sadness'

for

the composer's

every

always

Xusict

being'(3)
'the

then%'expresses

realitys

this

such as 'this

piece

psychic

statement

be understood

sadness? no-one

a
'mind*,

elso's

is

important

expresses

as 'this
piece expresses
(not even an operatic,

nor sadness in the abstract.

oharaoter0s),
It

the

to say something to do with the

the $spiritual
being',
the $personality$.

psychic reality,
,
the 'soul',
the

should

is without

the tempo and energy of our spiritual

and Schumann claims that it illuminates

of the human heart'(4).

to emphasise,

it

and music express states of mind'(2)

4musio4 reproduces for us the most

'it

composer writes,

if

But what is not human? Without

felt
and undertaken by human beings

is

that

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

very

hhandioraft

be the function

will

external

stimuli,

internal

psychic

reality

significance

for

Ravel

that

stated

to show how
of
the
are parts

section

phenomenal or noumexl,

a glimpse

one catches

of this

one.

and are simple

of oneself

in

In writing

he was 'less

of the same.

projections

things

that

Daphnia and Cloe,

concerned

with

or have

excite
for

archaism

instance,
than

the

The factual
Greece is only a backGreece of my dreams'(5).
Greece which, is of immense importance
fantasy
the
of
to
ground
to the oomposer,
already

within

the composition
light

for

all

is distinguished
is-not

Greece has served

to invoke

the composer and bring

this
to see.

reality

is

it

brought

a psychic

to light
into

of day.

the other

arts

In

an even clearer

In the words of Sohopenhauers

from all

reality

by the fact

a copy of the phenomenon, ors more accurately,

but is the direct
of the will,
adequate objectivity

'Music
that

it

the
copy of

-35itself,

the will
everything

and therefore
in

physical

the metaphysical

represents

the world,

and the thing-in-itself

of, -"
of

has
been
the
able to
composer
every phenomenon. ' .., when
language of music the emotions of
express in the universal
then
the
the-heart
event,
melody
of
an
will
which constitute
the music of the opera,

of the song,

knowledge

from the direct

proceeded

But the

expressive.

by the composer between the two must have

discovered

analogy

is

of the nature

of the

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

his
to
unknown

world

produced

with

jA"

Mueioal

Things

that

Expression

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
set
be
to music unless 'they oan'be perfectly
should not
by it'(l),

expressed

make the proviso

and soon after

that

in
'even
the most terrible
situations
music must
... never
ear
in
the
be
to
other
words
never
offend
cease
musio'(2).
...
'express'
ideas, situations
Music must perfectly
objects,
and
follow
laws
its
autonomous
of
own. These
yet
and
one
so
the
laws,
tension
variation,
patterns
of
repetition,
autonomous
Hapaliok
become
Das
Musiksohdn,
called
more and
what
etc.,
human
lese
less
to
values
and
apart and
and
more related
views as we approach our
independent it-composers'
written
Thus what Mozart

own time.

examined

psychologically

'The thoughts
I love

are not

on the oontraryt
was thinking

too definite

of when I wrote

atands'(3)"

to speak clearly

and entirely

sphere
real.

If

you would ask me what I

...
its I would

say,

just

famous assertion
for

itself

the song as

of music's

implies

this

right

vast

in which words have no part but which is none the less

in letter-writing
Composers often feel frustration

because words are not

to his

tempo and energy

which are expressed to me by music

to be put into words, but
too indefinite

Mendelssohn's

it

to be 'the

and found

being'.

of our spiritual

that

music is now

called

simply

father

on his

their

first

language,

name-day could

only

thus

express

Chopin writing
his

feelings

-36of love'if
Mozart
love

they could

to his

father(5)),

notes

and Berlioz

of musio'(4)(similariy

tells

Camille

01

I[oke

thee more than poor language

Brahma laments

his

41 would gladly

her
Music

can express. - Give me a hundred

then Ioan tell
thee'(6).
and fiftjvoioes,

a hundred

musicians,

seems always

verbal

Schumann and tells

by means of musio'(7).

to you only

write
to have been an expressional
man. ' Tohaikovsky
yet

and love'lifep

emotional

to Clara

clumsiness

shy and inhibited'

basically
his

into

be-put

for

outlet

was, inhibited

in many'work;

generally

'I

he writes

about

'1time

and again'(8)
everything
fully

expressing
he uses music as the perfect
outlet,
far from social
Speaking
condemnation.
yet secretly,
of expression

this

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
Should

modulations

it

...
words cannot be found,
demand expression'(9)?

not

express

which nevertheless

arise

There are words, though, which,

by music.
can be 'perfectly
expressed'
by Busoni:

provided

'Contented'is

music?

phase of terrestrial
but

'Can a poor,
a soul

immanent instead

conditions

the heart

'poor'

and

in

connotes

not to be found

to Busoni's
is

of external,

which

man be expressed

and can,

Similar

in

for

to return
to Kozart,
Here is an example

contented

state

and social

harmony'(10).

the eternal

the things

all

in

harmony,

eternal

the Wagnerian

conception

later.
Wusio expresses the
refer
of Essenoesp to which'we will
Necessity#
Instinct
Will,
or
which governs oneself and all
pure
the unity of oneself with all the world
the world, and reveals
the
hence
real nature,
and
is
'Music
itself
musician,
the world

immediately

the essence

Idea,

a world's

displays

its

of the world.
an Idea

essenoe'(ll).

To the
in which

In this

of music as an Idea, an Idea of the world, we see

link
between
Platonism
the
intermediary
and
modern
of
a sort
ideal
the
truly
form,
Langer
existing
etc.,
of
aesthetics
(the
little
the
copy of
work
symbolic
world
and the virtual,
definition

of art) complete and self. -sufficient

To
this
we
will
big
world.
actual

yet

musical

stimuli

purely-musioal.,

logio

within

the

return,

the importance

Let us beware of underrating

in our admiration

existing

and astonishment

of a work - this

is usually,

of extraat the
in recent

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.
'(12)??
eto.,
p
'People
suppose that

impressions.

certain

outlines

keeping

pace with

and this

or picture

the more his

the thought

organ frequently

and

cognate

in

created

tones

the expression
or keenly

Why should

hero have excited

has music indeed

not

in musics which
the more

contains,

of the composition.
the musician

And

grasps these,
Why should not

use
Beethoven

during

his

the memory of a great

a oompoaition

in him?

Why",oould

happy days have inspired

the memory of bygone,

the Alps,

follows

all

work will
move and uplift
have seised
of immortality

improvisations?

another?...

the eight of the ooean- spring,

twilight
not told us anything
of thess'(13)?

For the mature

he wishes

influences

the sounds and tones which,

the musiot may take form and crystallize.

and plastic

Italy,

outward

ever-busy

amidst

the more imaginatively

not

estimate

the number of elements

The greater
the thought

fallen

paintingi

an idea sometimes developes

the musical image; the eye is awake as

with

as the ear;

poetic

they

'Unconsciously

simultaneously
well

of

take pen and paper with

this or that.
expressing

composers deliberately

the purpose of sketching,

Yet we must not too lightly

the expression

' warns Sohumann,. 'if

err,

certainly

music is

composer there

is

always
however different

to ex-r9$5

something
it may be

music,
else we knorz in fact it is often so different
from anything
(pure
describe
to
it,
like
terms
music'
called
on
are
that
'the
tempo and energy of our spiritual
for
but
sxaotness
is

being'

perfected
order that
a definite

For him technique

to be preferred!.

in
the same manner as one learns a language,
'stand ready at (one's)
to
impart
it'may
call
...
(one's)
in
keeping
impression
or emotion
with

pulse'(Wagner)(14).
that
feelings
made of

'One kind
is

expressed,
is never

to the perception
technical
absolute,

instinctive,

Of course one must first

Technique is sometimes a

of a new psychic

absorption
always

of music is

my kind.

the oraft'(avel)(15).

stimulus

be

in

inner

learn

should

reality

may open new Worlds,

the vehicle

for

meaning.

to be
but
'Art

they have a
as language;
as much a means of communication
identkal
have
served
purposes'(Chavee)(16).
common origin
and
I

it
is

-38This

must be remembered in thinking

his

numbers,
projected

mathematical

edition

of Dunstable's

of<his

of Beethoven's

as also

metaphysics,

'divine'

the poetic
ideas
down to Stravinsky
with his

sonatas

piano

with

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 the language'(18),

the instrument

of developing

noverthe-

we 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
lese

the emotion is different,.

but
Certainly
in us.
is
'simply
that
the
music
organised sound'
mean
in the music itself'
remotions are not inherent

that

does not

that

the

(Lutyens)(19).

The composer used the music to achieve this meaningful

order,
does
have
if
it
meaning then it expresses something
and
human however deep and unconscious
that may be.
Hindemith's
though

similar,

theory

he side-steps

The consciousness
in the theories

extreme

by emphasioing

in man of Divine

a reflection

represents

on the expression

of emotions
that

musio

Order.

of music as a language

passage music comes nearer

reaches

of Janacek.

and practice
to being

is

sign

an

In this
than symbol

rather

in any other music or theory,

other extremes of
being
to
usually
subordinated
some rules of
music
programme
but
here;
the
imitation
logic
other,
not
or
so
exact
musical
'Tor
fundamental
the
is
to
musical
structures
map
of nature
than

from instruments,

music emanating

or of any other

Beethoven

whether

composer,

in

contains

the works
little

of

real,

to men I listen
to the
more
speaks
anyone
when
.. *
than
in
to
is
his
he
voice
what
actually
modulation

truth
tonal
saying,

is
like,
he
what

whether

he is

agitated

or is merely

I can even feel,

conversation.
Life
sorrow.
speech.

what he feels,

whether

he is

lying,

making conventional

or rather

bear,

any hidden

of the human
sound, the tonal modulation
being is filled
living
with the deepest truth.

is

Every

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
-

collection

of note-books

through
window
are my

this

is

what I should

filled

which
like

with

I look

into

to emphasises

them
the
they

_39-.
are of the utmost

to dramatic

importance

Wagner

muoio'(20).

though more theoretical

profeosed a similar,
instance
he hold that 'the musical inotrurnent

attitude,

for

in an echo of
we can only detect

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.

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

of musical-language

medium of performance,

For every oomposer there Is one can think

or

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
two others

this

of some of Bartok's
early debts will
'From
1
typical
examples
a
stagnation.
was aroused as
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

At
seemed to hold the seeds of a new life.
myself into the study of Strauss's
score and

which

composing
once 1threw

began to vrito

again

y5o1f.

(Then Bartok fell

under the influence of folk.. muaio).

A
Meanwhile the magic of Biohard Strauss had evaporated.
Liezt'o
to
the
thorough
of
uvra,.;.
study
revealed
me
really
r,
true eoaoaoe of oompoeing'(l).
A rather more unusual prooees, 'stimulus by exasby
Janacek$
to
Dvoraks
'
is
of
speaking
referred
peration!
to me in a flash the secret of his
'Cne moment always revealed
'Kde
for
3kroup'e
had
it.
words
sharp
not
enough
creation.
be would have composed a new Ceeoh anthem - and
domov maj''=
is
he
oomposing the music on Skroup's
long
not
afterwards
motifs

to

'Kajetan

Tyl'.

Its is

turning

ovor

the pages of

-4o..
Berlioz'a

Requiem with

every

of imitation

sign

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.
he
influenoed
Was
by
the
same
...
to oreate his other oomposition,
his ohamber
exasperation
(2)?

musio'

Related

interests

ever

a rare

Stravinsky,.

aocording

listen

to music that

hand.

Thus when writing

Verdi]

attended

wise,
kind

Rossini,

'I

think

Craft,

will

to him for

and only

Donizetti,

the work in
he would play
operas

attend

like-

Busonip

eto.

of Italian

only

opera for

his

own

I shall

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

of food

I require]
flow again'raj.

Brarztwahl

to. Robert

The Rake's, Progress

performances

sake,

opera's

I wish to make my own (I

be useful

will

'what-

remark!

form of kleptomania)(3).

of Cosi fan Tutte

the records

of Kozart,

Stravinsky's

I love,

mej whatever

am probablycbsoribing

only

is

to this

Examples of pastiche
are well known, but there is
dividing
line between the overt stimulus
of another

no real

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
imitation
to simply profound love) as
unashamed
ment
itself

in musical

stylo.

The stimulus
is

performance
that

again

of an instrument
or medium of
the excitement
of seeing something

what the composer could

can carry

lurking

something

already

perceives

by what means it

say,

In other

words

the composer suddenly

within

may be expressed.

Rostropovioh's

Britten
Kdhlfeld's
Benjamin
one
are
such
example,
cello and
Vogl's
Schubert
Brahms
voice
another,
and
and
clarinet
Stravinsky

another.
Arthur

Rubenstein

'I finished
wrote,
and his strong,
agile

the different

mind ...
the fingers
Nearly
extent,

rhythmic

themselves'(5).

every

piece

even if

episodes

with

fingers

in

were dictated

by

clever

to some

was stimulated

of stimulation

the name inspiration,

by some performer

performers

heard.

previously

piece

Examples may be multiplied.

of music written

the degree

a piano

barely

warrants

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

in terms

we must think

of pound montages whose component

The choice of
as dealred'(6)o

may be assembled
is the most inspirod
instruments

parts

Thirdly,

with

sheer preoccupation

part

the genre can excite

of the composition.
the

and stimulate

for his thoughts.

IXE for my
composer an the ideal vehicle
parts feel at this moment the moat urgent desire to write
I
have
the leisure
to commence
soaroely
yet
and
oporap
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
hear
have
to
I have
only
an opera diaoueced,
...
hear thoorohetra
to sit in a theatre,
tuning their

instruments

I
oh,
an quite
-

beeide

myself

at onoe'(Kozart)(8).

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
'trigger
few
have
face
is,
value
taken at
properties'
deep
inspiration).
At
trig
to
emotion
off
or
ability
.. At the most prosaic

beat they suggest music by their

for
instance
Weborg
propertiest

formal9 sculptural
was inspired by the aright
tables
'Look
'
thore!
h
and
chairs
up$urned
of
at a cafe
look
like
triumphal
that
'dose
exactly
great
a
not
said
What
Donnervetter!
chords there are for the
march?
trumpets)

I can use that?

I can use thati(l).

Apparently

-42he did

use. itg

forms

in. Oberon"

musical

though

responao'(2)

Xessaien
of Nature
Craft,

his

with

the form and symmetry

by means of Robert
Stravinsky#

idea

of movement, line
I suppose, '(3)

times,

from the. two examples

to you

to you from,

occurred

ever

experience

reply,

more from

'Has music ever been suggested

by, or has a musical

'Countless

this

exact

with

preoccupation

asks himself

purely

the sharp

a very

one would expect

than from Weber.

visual

'determine

in a grotto

of stalactites

in Mesoaien

Similarly

or patters'

His

that

apart

suggests

he. mentions he has. had in his composing

liaison
with the world of shapes and

an almost

unconscious

movement.

The movements of animals and humans have

had a great influence
upon composers (though

obviously

G
the.
not
rmans), and observation
of pieces'
perhaps
'Moths'
from Couperin b'The Butterflies'
to Ravel's

Finally,
stimulating
and that

have played

colours,

and accompanying

composing he always

experiences

such a play
on his

Colour

a play

was especially

showing
objects

seen,

with

in his
their
is

Synaesthesia

his

mind when

ovements being

Purple,

the

from

connotations.

a common enough quality

and came

Swedenbourg and# laterl

measure in the nineteenth
such as Ore try,

examples,
tones

or flatted

of colour-sensation,

Significantly

emotional

the arts (perhaps via

in considerable
theosophy)

lowered

when

mind to be an. abstraotion

into

There were earlier

says that

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

Hope, Joyg'Youth,

the colour

in

part

vivid-in

Symphony, the

movements have such subtitles

of Emeralds,

a certain
Bliss

music;

Bed, Blue and Green respectively.

'the

is

evidence,

sufficient

working

titles

century.

who found

have the same effect

that

on the

the
the
dark,
on
colours
eye;
raised or
gloomy
ear as
the
to
that
havep
contrary,
tones
on
effect
an
similar
sharp
Between
lively
these
brighto
colours.
the
of
in
in
well
as
painting,
find,
as
all
music
we
which

are appropriate

and charaoters'(4)"
oomposere,
between
vibrations

apparently

to the description
This

there

interrelationships
(16

much is

20,000
-

is

per'seoond)

the colours

of varied

emotions

agreed upon by later

a strong

within

two extremes

oorreepondenoe

the auditive

range

and the visual

of

-43(451,000,000,000,000
therofore-oolour,

780P000,000,000,000'par
-

may quite naturally

The theosophists,
in musict

assign

moral

'which

is how music

This
moral,

to ooloursp

value

can yet

to

material9

colours,

equal

nothing

on its

effect

light

Clear,

.
muddy murky ooloure

value,
spiritual
depravity(5).

and therefore

and spiritual

Scott).

listeners'(Cyril

Soott

nothing

expresses

have a moral

and Cyril

evokes in the mind.

it

to the colours

musio, aooording

suggest sound.

Soriabin

notably

cooond),

equal

spiritual

17 Nature

'
'No-one
surely

trees

woods,

desires

love

oould

the country

and rooks

to hears

himself

conscious

found

definition

found
in

The echo which

in the outer

the world

of the extrovert

which

For

the echo which man

produce

to hear'(Beethoven)(1).

an muoh as I do.

world,
is

inner

his

unhim (Jung'a

attracts

attitude),

man desires

connected

with

European culture
from the early Renaissance
nature throughout
(the discovery
of Mother Earth) to the beginning
of our own
(the
its
disgust
hangover of
with materialism
modernism with
of Mother'Earth)

the discovery
unconscious

and its

inward

march to the

itself.

'More feeling

than tone-paintings

Beethoven

writes

there
Symphonyq
Pastoral.
}is
and
although
are many
about
(Israel
in
Egypt,
tone-painting
inspired
much
of
examples
of Haydn's
representing

'the awakening

gnawing, wriggling
side
the (feeling'

his

of birds

Spring

attempt
believe

that

Mendel$eohn

with

wrote

a spring+-like

urge

the season in which

its

structure

loved

'the

anything

this

...
in itj

symphony
I do not
but

I do

the symphony was born

and helped
serenity

Of

within.

'I

describe
to
or

is most

music which
reality

Symphony Schumann writes

to depict

influenced

the scratching,
it is obviously
and beasts'),

of the psychic

at the end of wtmter

of Spring

of nature,

of nature-inspired

reflective

strongly

to The Rite

the Prelude

The Seasonal

make it

of nature,

what it
whioh

is

ia'(2).
itself

-44costly
vision
every
like

No lank

...

'many in

the

With

it
if

believer

it

is

properly

these

the wonderful

I-

so did

those

is what Laski

powerfully,
'en object,

event

the life

symbols

mountains

is
symbol
Chabrier
I don't

the six
mention$#

think

hundred

spark

within

all

and

in all

of man particularly
a unitive

of mankind.

type

of ecstasy

(An odd instance

year

old

symbol older than

Obvious
are sea,

of a unitive

group of Chestnut

trees

In the shade of such giants

compose anything
the vastness

the sea man enoouaters

physical

this

'What power:

one could

in

can be seen as far

that

eto. '(7).

And every-

wanted to cry,

call

would

triggering

and

On top of it

the soul

or than the life

of man ...

and basic
earth,

or idea

and

to use it'(6).

The sea seems to mirror

it

of

great

whistles

How much music there

intend

Ravel

cathedrals

belts,

deep red.

wo went down to

you about

Ida who was terrified

I
certainly
and
-

or even

should

on); 5).

evening

symphony of travelling

it

soul

incandescent

great

...
but from joy.

as we have

on the emotions.
byVthe

'Towards

where the sky is a scorching,

storm broke.

con-

Busoni

hammerbiows in which you are uubmerged?

terrific

this!

in music,

(later

flow

How can I tell

castles5

smelting

say.

at the end of the valley

absorbed

journeys

see the faotories:

would

and aeon in the morning

to the creative

Shine-steamer

of a musical

gestation.

impression

makes a great

be productive
his

on musical

of longing

awakens a feeling
at sunset

later

'The perspective

of Trients

something

the feeling
with others,
of nature,
in the notebook of strange and

the vision

soon in the section

writes

on

internally

the music seems to arrive

is remembered and stored

to be expressed
feelings,
exciting
already

mangynot

the One' as Stravinsky

some composers

with

as 'a lovely

echoes and vibrates

but who sax in the world

Xozartj

currently

it

there;

of music

Here was an absorbed

side'(4).

, unity,

the Alban hills

and describes

muaio'(3),

'La mer est

In

trivial'(8).

of his

soul,

ton mirroir;

the meta'tu

oontempler ton me

infinit
Dang le dfroulement
do sa lame .. '

Debussy and Rimsky-Korsakov often mention the sea

in

their

writings

in ecstatic

terms,

and we know it

played

-45in theirs

a significant
part
(of. p. 26 Wagner's

which Nature

it

is hardly
of

testimony

to the prominence
inspiration.

in musical

features

work.

titles

as elsewhere,

are the most eloquent

compositions
with

bore,

out that

creative

but of course

sea adventures);

to point

necessary

as in others!,

18.

Ev.ene
_.
in the ordinary,

Events

emotions

strong

may rouse

in the field

except

as opposed to imaginary,

in

the aomposerp though

of religion,

rite

and a gio,

profound to inspire
sufficiently
music.
here is between strong emotion which is
such as anger

short-lived
beholder!

and profound

of resonanoe

at an event

emotion

or disadvantageous

tageous

boy from the world

of sense,

area

usually

in-

quick

unpleasant

and

to the

some deeper note

merely

advan-

what Jung olled

wills

Iman must reap the highest

As. Wagner says

emotion.

archetypal

usually

than what is

to his

these

The distinction

whioh strikes

the beholder

within

world

before

he. can mould therefrom

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
inetanoe,
in
for
his
frequently;
by
inspiroa
event
an
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

He came to demonstrate for

And was bayonetted

The inspiration

of the simple
Pavlik.

a University

by oruel-murderers'(2).
is

events

of prlitioal

fairly

'.

strong

Dallapiooola
minds
and
metaphysically-inclined
Nono
Hiroshima,
Shootakovitoh
and
work3,
anti-Fasoist
(apparent
his
Belson
to
Britten
visit
and
Leningrad,

less
among
his
and
not
with

only

in the Donne Sonnets)

the tortured

conscientious

objection(3)

Grimes at the time

Peter
-'to

self-identification

name only

of his

modern oompouero.

3ohumann absorbs

the world

around him and by a

of regurgitation

expresses

it

happens in the world

affeots

prooess
that

idealist

and, his

literature,

people;

and I reflect

as musiol

me, politioe,
about

all

'Anything

-for example,
these things in

-46-

then eak to find

my own way - and those reflootions

in musio'(4).
Tip; ett
the niaaing

world

the outline

of

the reverse

adopts

'I

the picture.

and seeks in

process

jig-aavp

of hin

pieces

of the work,

which

know that

known

somewhere or other,

everything
the

it

! spas

that the
Zohumann'e euggeoting
idea that he finds in the world

the

of which he only

in books, in pictures,
in dreamsp in real situations,
for all
is sooner or lator to be found which be1e
detailo

an outlet

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

of unformulated
inapiratione
tho more
are two ways of saying the came thing,
the
eraphateing
naturally
cubjeotive
and introspective
modern
aspeots.
Aloo an event
something of its fora,
the musical
when it

=y

and determine
inspiring
actually

provoke

a composition

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

vision

provides
an occasion for a particular
'Sometimes
a funeralp
wedding etc. -.

sition,

need of celebrating
Dritten

either

a private

end the need to celebrate

one of man's oldest and most balloweds

me' wrote
ttisoa

Beethoven

solemnia,

of that

the glorification

talents

my poor

event"(6)

with music is certainly

'and God will
enlighten

the composition

contemplating

'so that

type of oompo.
one may feel the

or a public

saidg

as

of. the

may contribute

to

solemn day'(7).
190

Sine

Painting

Arts
themoelvos

and ooulpturo,

of a payobe,

sometimes

prompt

the most refined

a piece

of iuoio,
but works of fine art too near the composer in time do not
because both composer and
thing
for
do
one
so,
usually
expression

paintor

with

to expreae

roughly

similar

things

through

their

look
they
thorefore
upon each other's
nediusm3,
itselfs
in
leading
absolute#
nowhere'beyond
work as porfoot
because
the
for
itaolf,
mystery of antiquity
anothor
and
different

associated

with

a unitive

symbol

in absent,

euch as

-47delle

Piero

Due Studi.
'I

Francesco's

freaooea

Mendelssohn

found

for

provided

this

1)allapiooola's

in Venetian

mystery

art

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 perspecto the ancient

cling

masters,

incited
by
find
their
to
art
me
someshown
space
and
-- the Japanese Lyrics were the
thing analogous in inusio'(2)
tive

result.

20,
Literature
The oonnection
always

been strong

or libretti

lifo-long

love

'Shkespearo,

Ophelia:

of art

to me with

furthest

depths.

that

Shakespearean

perhaps,

lasted

up its
grandeur,

I understood

and must arise

ecstasy

dramatic

true

I saw ...

...

opened the heaven

and lighted

orashl

I recognised

i was alive

to Berlioz

century,

His lightning

a sublime

truth.
and

mind turns

one'a

of Shakespeares

a thunderbolt.

me as with

of poems

here
is
inthe
when he watched his futuro
wife playing
struck
coning upon mo thus suddenly,

love,

of that

caption

beauty

Poi examples

music.

to the mid-nineteenth

his

and ucuaio has

from the setting

even apart

as vocal

naturally
with

between literature

I felt

...

and walk'(1).

This

a lifetime's

activities.

for

...

as not to need multiplioationg

Examples are so well-known
is
literature
that
interesting
seems to
point
but another
into
composers

have led

unprecedented
plansten'

'lob

originality.

was rather

a turning

Stephen George's

indeed
and

partly
his
in
be wrote
'I

Carton',
expression

which

the strength
am conscious

of having

past

aesthetic

intense

.. "'(2).

and original

'Das Duch der 71ngenden

for

for

to realise

broken
Cluck

career

George',

the Songs after

in approaching

or aseuranoe

von aulerer

seems to have been at

poetry

I had envisaged

Luft

and consequently

in Schoenberg's

point

programme note

succeeded

fhle

'With

responsible.

least

of feeling

a now world

through

an ideal
years,
it.

without

having

Now, however,

the barriers

was writing

when he followed

of form and

ofla

music almost

the dramatic

as

emotions

.-48-in 1767 'I, have not placed

of Aloeste
if

it

did not

emerge naturally

bound to break

in order

Ravel was especially

feeling
and selected

on novelty,

from the situation

and the

I would not have felt

is no rule

and there

expressions

any value

the desired

to achieve

of exploring

conscious

literature

hie

in duty

effeot'(3).

new areas. of
for

accordingly,

instance:

Chansons Madeoasses seem to me to have, a news dramatic

'Les

itself
the
Parny's
subject
which
of
element
The situation
is clearly
to them'(4)..
songs has introduced
'A
Midaunmor Night's
by_Mendeleaohn,
Dream',
of
speaking
statzd.
ero tine

voiree

have
luck
had ouch a subject
to
to inspire
great
me ...
call
the
What I could do as a composer I could do before writing
it

'i

I had not yet

overture,

but

as that.

That was indeed

boforo

my imagination

an inspiration

auch a subject

'(5).

...
'Had Shakespeare

comments by means of ? lorestan

Midsummer Night's
would Mendelssohn's

Schumann
not

existed,

Dream have seen the

""

though
Beethoven
had written
even
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
light

only

display

others

individuality

support? '

for

by Raro

clarified
freely

their

The growth

themselves

in musical

statement

Many people

to
is
act

oonditioned'(6).

technique

is attributed

to new

by Liszt]

regarded his tone-poems

clearly
to enlarge
the form 4of a pibcet
is

enigmatic

speaks true.

feel

exploration

psychological

slightly

'Eusebius

when they

only

This

they have looked

after

as by Wagner, and Liszt

'To enrich
in this lights
it

and make it

serviceable,

to those who make use of it

only
...
the
languages
the
of
of
one
expressions
means
as
as one of
in
the
dictates
the
they
with
of
accordance
employ
which
procisnly

granted

ideas to*a]o expressed'..

4apio
like
heroes
natures
language ?

itself

far

the outer

which

solely

Cain,

Manfred.

to speak its

music do this in the drama? Scarcely.

they 4heroeo passions}';. 'arouse attaches

himself

subject

correcting

Faust,

to cause such

...

to
more to inner events than to actions related
believed
the
Tone-Poem.
Hence
Wagner
worldV(7).

in submerging
of his

music unsuited

could

...

The interest

'Is

later.

into

and accepting

the unconscious
all

He attributes

to the subjects

dictated
his

he has lived

archetypal
to him,

development
through

world

only
as a musician

and expressed:

the
in
of
regard
was
matter
sole
expransion
all
of
eat
ob
I no longer had to refer
to the mode of
my workmanship ...
'the

-49Yet,

expression*

driven

I was absolutely

means of musical

to expand .

by the very

oxproaaion'4

'my

of the objects

nature

I wars seeking to expree'(8).

Literature

to the oomposert

appeals

the moment, when ...

the island of Corfu

Strau3,

or ao with
it

sind then finds

first

world

whibh

he perceives

in literatures

reflected

that
'Prom

I saw from the deck- of the Italian

n Leaver

and the blue

I have

For I can look

of Albania,

mountains

been a German Greokp even to this

always

of feeling

a world

suggest

usually

day.

back on azrtistio

achievements

whiohq

Aegyptiaohe
Ariadne,
Helena, Daphne and Die Liebe
Elektra,
der DcAnaerf do Lhoinage to the genius of the Greek nation' (9).
like

Literature
Ave

Romantic

Schumann considered

even though

others

'The highest
identical
In this

it

i3

that

the one oalled

Jean Paul,

scnse,

the

of by the composers
leavos an impression

which
forth

with

illuminate

one could

dreamt

aas never

criticism

with

than in the

and music never came closer

by the thing

a poetic

criticised.

compassion,

can

more to the. understanding

of a symphony
perhaps contribute
even speaking of the musio,
or fantasy by Beethoven, without
than a dozen of those
ladders

their
This

naive

obviously

against

faith

little

of the arts

oritios

the Colossus

and take

in the interdependency
too subjective

rather

who lean

its

measurements'(D).

of music and words is

to contain

universal

validity,

happen
in
the
Romantic
of
what
could
a
reflection,
era
as
yet
this curious note, of Spohr's is worth quoting in confirmation:
$Jean Paul ...
new oomposition
to it
it

a highly

poetic

i certainly

striking

appeared
4 String

never

something,
additional

tuartet

this

thought,

have come to confuse

sort

correotive

ie only

attribute

much for

of which while
in
but which recurred

signification,

This

stern

very

'If

we have thrust
with

subsequent

It

upon it,

essential

a very

performance

music appears
,..

composing

amply justifies

of statement

an illusion

its

this

Op. 45 No. 14 and ascribed

manner to my mind at every

the quartet'(11).
Stravinsky's

himself

to interest

is

to express
simply

which

beingO(12).

an

.. e we

of

-50P2.

Pow

In an earlior
inspiration'
creation
often

aootion

many instances

'Conooiouu preparation

of the effect

in evidence

were cited

of poetry

on musical

that

is

of the fact

to music by the process

set

for

poatry

on the poem

of meditation

of the music from

followed

by a natural
receiving
conscious in surprisingly'large

the unPoetry has

quantities.

more music than any other extra-musical

phenomenon;
is because it is often rich in trigger
to deep
qualities

inspired
this

emotion
rhythms

and also because it is already half

and forms, aeomingly oryinZ out for
Burns,

and elaboration.
half

already

inspiration

if

music to be

thoughts

'we can trust

power over may not

but by their

itself

is,

that

his

Goethe of what Beethoven

who tells

the mood for

build

cecma to have stated

of poetry,

poems have great

content#

felt

visa,

statement

tunes
and hummed over his old Scottish
Ocamat to him quite of their
own accord.

Beethoven

Brentano

contrary

fuller

poetry

the words

until

in

its

music with

rhythm.

oompoaing,
up like

"Goethe's

because of their

only

language

a work of higher

Bettina

said,.

I het excited,

by this

on the

and put into

that

seems to

spiritual

beings,

the
its
to
harmonies.
It
already
secret
of
contain
and
from
forces me to pour out the melody in all directions,
the burning

point

of my enthusiasm,

I pursue

its

it

again

I cannot

from it#

and with

overtake
joy

...

4t. in all

I have to repeat

eager
and in

modulations,

possible

I am triumphant

the ende at last,

found

part

passionately

ideas"(1).

over musical

the formal

ole, enta alone of

and rhythmic
stimulus
in 'Les Roles' tremendous
Russian folk poetry a
'What fascinated
me in this verse was the sequence of the
Stravinsky

and the cadence they

words and oyllablest

produces
to that
elements

an effect

on one0s sensibility
He found both

of musio'(2).
a stimuluh

in

a non-vocal

form of my Duo Coneertante

the pastoral
technique

posts

.. o a musical

The emotional

very
formal

works

were determined

of antiquity,
parallel

their

create,

which

closely

akin

and spiritual

'The spirit

and

by my love

scholastic

art

to the old pastoral

of
and
pootry'(3).

power of Goethe held many composers

_51_
in its

thrall,

by Faust

alone,

enchanted

are at least

there

six famous works inspired

who touched Gooth seem to have been

and all

music from that

the magical

and received

daimon

Cootho believed

which
to his

worked on every man of reniue according

it was rosily
he believe&
Curiously,

groatnosa.

external,

of liorysus

a sort

of himself.

and no mere projection

in tors
is something that cannot be explained
find
it
in,
do
I
but
thought.
I am
not
nature
my
mind
of
and
just
Walppuurgiena
it'.
to
oht
was
uuch an inspiration
subject
Druid
'when
iniorms.
Ooethe,
the
to }endelosohn
old
offors
who
'The daimonio

and solemnity,

and the scene grows to immeasurable heights

there is no need of inventing
music; it is

there

already;

everything

sing

the verses

up hie

sacrifice

and I started

sounds clear,

to myself

before

even thinking

to,

of the

composition'(4).
Cases of immediate

inspiration

was handed Orillparzer's

he merely
twice
its

took

the verses-to

with deep attention.

done alreadyp. and it
up Hugo's

picked

music paper

loud

and turning
do very
will

it

rounds

them through
said

'I

have its

Berlios

veil'(5).

one day whop it

had,: been

was ppen at; La Captive t

he read

can hear. it'.

His
him
companion
ruled
down complete(6).
tells
Liszt

it

and he wrote

'After,

reading Saar's
I immediately

of the day are silent"

dorm the enclosed
remained only to-write

voicco

there

Sohubert

and asked to set, it;

the, windows read

zu Sayn-V'ittgonstein

Marie

d leise!

Les Orientales

on the floor
11
'I
and exclaimed

knocked
it

'Z15

are frequents

poem "The
sang its
notation'(7),

k
't

"i titatien

trrz

frequently

we find

the
is
situation
on
of words
(for. a poem) only if
music
it'(Xondolssohn)(1).
produces
stimulus

extends

that

or mood.

aotorg
himself

ought

this

field

of

of poems to the setting

himself

to surrender

to depiot

in. the plane

in the looalities

a mood that

But of course

beyond the setting

in the getting

*I can conceive

I can conooive

'A
musioicn
dramas
good
of
he
the
wishe8
oharaotera
all
put himself

the emphasis

and, like

of the speaker,

where the different

a skilful
imagine

events

he

to

-52to represent
occur, and take in these the same interest
he
to
know
the
as those most concerned;
ought
when
voice
...
in order to
should be raised or lowered, by more or by less,
wishes

to this

adapt
his

his

As Tippett

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

on King Priam,
composer is

fussiness

hundred

libretti

librettists

is his

idea

and

oommentsp when engaged

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

the

and Mozart's
through

at least

was due to the fact

that

one
most

by paying too much attention

'I mean, words or even
etc.,

good situations

ruined

versifioation,

the composer's

which ruin

verses

modulation,

the words as such which

and more'(4))

to the rhyming
entire

is not

it

his

but

setting,

extreme

harmony,

his

melody,

musical

idea'(5).

entire

of the situation,
Indeed in opera,

conception

The

born of his

dramatic perception.
the situation
unerring
'What
is the supreme stimulus
music must have above all'
'are emotions and passions,
Saint-Saone,
laid bare or
writes
And where can one
not in action by what we term the situation.
find

better

basic

than in histor/(6)Z

situations

situation

The stimulus

an opera is based is

on which

powerful

to see a composer through

the entire

work without

should

confidence

a subject

blood

compose with

utter

even though

going,

it

as anti-musical'

artists

the magnificent

appreciates
inspired

emotional

Elektra,

in musical

increase

the recognition

after

Salome after
apotheosis

the powerful

I appreciated

of
be ...

the

to the very

In

end.

which could only be

the release in dance - in
scene,

of the plot),

Both offered

of the end.

other

recognised,
it might
libretto

tension

in musics
the dance (the heart

realised

completely

set my

saw fofaiannsthal's

operatic
course, what a magnificent
Salome
just
as
previously
with
and,
tremendous

that

I immediately

...

'I

and Strauss

shape,

'When I first

of a libretto:
(Elektra)
play

build-up

Verdi(7)1

enough

worry.

were condemned by all

writes

of a

the dreadful

wonderful

musical

by the idea

that

points

of attack....
'But
subjects
I doubted
subject

at first

were very

similar

whether

I should

also'(8).

most powerful
related,

I vas put

psychic

As it

off

in psyohologioal

content,

have the power to exhaust

turned

out,

Strauss

works and managed to explore

wrote

both
so that
this
one of his

newt though

territory.

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,

which
which
fear

of Pan.

To continue

the Dionysian
The simplest

allusions

this

we may call

in man as opposed to the Apollonian.

element

way to define
hair

make one's

classical

stand

Dionysian

on and,

music is

it

that

should

as Housman demanded of all

real

Such crude physical

indicasymptons are the clearest
in words.
to circumscribe
of a concept that is difficult

poetry.
tion

The stimulus

legends,

of the Uonysian

manifestation

and obvious

which dready

situations

is

of the supernatural

the most extreme

in music.

make us shudder

Poetry,

in awe of

in power tenfold
by the spell
the supernatural
are increased
'The
Fantastiol
Hell,
the
Jinns,
Paradises
music.
of
fairies

phantoms,

ghosts,

and prove

to me that

there
-

there

could

in the domain of artl

be art

Try

based on reason,

I
declare
if
that
As
a
musician,
you
...
imprudence
fanatioismp
the
crime,
and
adultery,
suppress
be
impossible
to
it
write another note.
would
supernatural
truth,

and fact

I even go so far, as to say that I would write better music

(iset)(I).
is
that
untrue
if I believed everything
'The
the
an
alternativer
opera
as
comic
Busoni admits
of
the
the
unnatural
supernatural
or
take
possession
should
as its
should

only
create

reflected
consciously

sphere

proper

a pretence

in either
that

and feeling

of representation
world

in such a way that

a magic or a comic mirror,

which

is not

to be found

that his librettist

Whereas Weber insisted
Beethoven wrote
in Euryanthe,
supernatural

life

and
is

presenting

in real
include

life'(2).
the

to the librettist

w54+

of his

' ... now there must at all

cannot deny that on the whole I am prejudsort of things because it has a soporific

projected
be mo-I

costs
iced

against

this

on feeling

effect

'AloineI

opera

expression
we are advised to 'banish

will

In this
natural,

not

at greater
which instances

talk

much about

'I

'Gran Maas',

of the

this

and Stravinsky,

emphasises
modern abstraction
figures',
'not merely 'symbolic
the Person of the Devil,

Lord,
(5),

for

the composition

religion

though

stimulus,

parts.

of the supershould
composers do

surprisingly

may say that

(4)

than composed it',

and Apollonian

the stimulus

yet

where

in the two next

of the Christian

attentions

receive

obviously

Dionysian

called

length

section
the stimulus.

attitude,

is

and put on wisdom'.

superstition

The two attitudes

Magic Flute

'Apollonian'

of this

the extreme

be discussed

Kosart's

and reason'(3).

Liszt

tells

Wagner

I have prayed it rather

in defence against

the importance

of belief

in

the
Person
the
of
o. o
of the Chureht
and the Miracles
but

of music in sacred

Best of

forms.

the
famous
Doi
he
the
Agnus
how
of
composed
alle
Maass 'I prayed to God not like
fourth
a miserable
sinner
In this I felt
that an
in despair but oalmlyp slowly.
Haydn tells

creature,
surely have meroy. on his finite
being dust.
These thoughts cheered me

God would

infinite

pardoning dust for

I experienced
up.

a sure joy

that

so confident

as I wished

the words of the prayer# I could not suppress my

the
to
happy
above
wrote
but
and
spirits
vent
my
joy,
gave
Joyful
this
The
Allegro'(6).
of
composition
misere stoop
to express

beautiful
the
meroy
misunderoften
an&
epitomises
plea
thinks
the
of
one
oentury5
of
eighteenth
religiosity
stood
in
the
felix
our
own
sentiment
oulpa
of
expression
a similar
for

tongue e
'If I were pure, 'never could
of sins.
Of, the forgiveness
never could behold

0 Mercy) 0 divine

I taste the sweets

If I were holy, I
the tears

liumanityl'(?

).

Of Love ...
be
lack
and
reverenoe5
for
of
material
must
our
The reasons
in
is
hardly
expressible
experience
the fact that religious
when
these
adequate
not
are
wholly
reasons
And
yet
words.
the
the
the
music
of
and
quality
amount
we contemplate
Christian
subtler,
as far

has stimulated.

religion
connections
as the direct

supernaturalism

We shall

deal

between music and metaphysics

and emotional

stimulus

goes we must acknowledge

with

other,

later,

of Christian

ignorance

and say

but

-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

Rimaky-Korsakov

power,

sun-worshippers

'my enthusiasm for the

he writes,
(with
led
May Night)
to a series of
worship
of pagan
in which the worship of the sun and of sun-gods was

a good example;

poetry
operas

though

introduced

...
the light
of Christianity,
to
this
games
and
songs
which lives
sun-worship

very

in the people'(9).

unconsciously

yet

is Berlioz'

his

throughout

the earth.

people,

left

by the tyrant's

alive

Baithasarl

prophet,

in

The tyrant,

of the Last

a travesty
the earth
Christ

quakes,

appears,
This

whence issue

is

is my idea' for
(librettist)
you

under

of

a mighty

handful

contempt,

of God's

under

the end of the world.

forces

him to be present

Day, but during

angels

The height

A faithful

who announces

amused scorn,

the

well

'Here

of corruption,

tyrant,

and supernatural

words express

the
more carcass# that
Last
'The
World's
Day'.
must vitalises
the depth

idea

apocalyptic

and grand

an oratorio

oivilisationj

before

the whole cycle of ceremonial

day rests on the ancient pagan

'we are discussing:

of stimulus

faded

yet

be'accomplished,

ever'to

had entirely

sun-worship

A fascinating
might-have-been
was
perhaps too terrible
which

sort

his

with

at

its

sound gigantic

performance,
the True
trumpets,

the Judgement has come'(10).

the deepest

those

side

of manta psyche from

phenomenar he projeots

into

the world

infernosp
demons,
enchanted gladea, Iparadisesg
godaj
as
in
find
them
to
thinks
some remote mountainous
and even
places.
or forest-darkened
that
inspiration
to
stimuli

Yet they

differ

from previous

have been discussed

in that

they
be
found
the
from
cannot
within,
with
come
have
been
in
found
the
the
others
world
senses, whereas
they

and have been seen as a reflection

Kunio that pertains

exciting

and perhaps

wild

of something

to the Dionysian
or mysterious.

within.

is strange,

Musical

works

-56.
seem to be born nearer
they

mysterious

with

the passage of time

are when

seemed strange,

new,

and composers are themselves

and exciting

of what they

by the strangeness

excited

than they

category

Modern works have often

are old.

wild,

to this

have written;

the Dionysian

this,

yet
tends

aspect,
come into

to fade and others more Apollonian

aspects
(Jagy, which depends largely
on the players

being

view

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
is
the result).
For all except the real
nature
ephemeral
immersed in another

scholar

'modern music'
element;

alone

makes any real

and as Stravinsky

modern music best,

back to Socratic
to the gates

age as if

says,

he is

a man does not love

not a real
'shall

of poetry

in its

to the Dionysian

appeal

if

madness, without

he lived

So we get

musician.
which

any man who comes

be brought

to nought

by the

of madness, and see (the works of sanity's)

place
is nowhere to be found'(ll).
The problem concerned Wagner
poetry

deeply,

and he was such an extreme

declare

that

as they

started

he called
need for

in future

it,

Dionysian

works should

be destroyed

to become Apollonian,
is

as this

intoxication

as to
as soon

or Monumental,

an insult.

To fulfil

as

man1s

more and more new works must be

he
'
the
freshneed
of
ever
perceived
an
written
...
directly
from,
born Artwork of the Future,
springing
toi
the
belonging
only
an Artwork which
present;
and
shall

by the Monumental'(12).

not be fettered

omposer has justified

A serialist
technique

this

with

same point.

other

in spite

strange

sound most foreign

have been heard before

of all

the twelve-note
ordinary

$A note

its

cold

it

if

that

all

to
have

the

reappears.

and mathematical

Soy

appearance

system seems to me to be an extraof the search

expression
and. new'

is foreign

to the number of notes

the ear in proportion

it
it;
will
preceded
eleven

the tiel+ve-. tone

(13)"

But this

for

the mysterious,

can easily

degenerate

information
theory
heretical
of
abuse
prinoiples
a
(desire
for maximum information
and minimum redundancy)

into

if

it

is not balanced

with

a little

of

the Apollonian.

-57Most axmpooera are ostensibly

because they
striotj

like

linde

brings

a young composer's
'mathematical'
Dionysian,

into

order

is

it

but

burdensome]

often

words it

to the system
Webern 'adherence (to the row)
attracted

chaos

yet we may almost

'mysterious',

or the

whether

the Apollonian
in his

is uppermost

attraction

in other

salvation(1q)1

by ascertaining

success

is

predict
the
or the

serialist

mind.

"
iF

Autobiography

We have-been
they

to show that

are because of a certain

composer discovers
terms

of music,
he is

whatever

in them..

change him,
him which
is

music

he absorbs

is

no real

secs art

autobiograph-

already

within

and into

which

ohangeg only

continual
Henri
to life,

essential

of man and world,

moment

from the outside

object

as a olarifioationg

and

present

The existentialist-minded

interchange

of this

his

must be something

There is

in

f'rom the outside

can meet the new external

self-disoovery(2).
pousseur

all

The things

absorbed.

the

'A composer transforms,

in real ityp
there

are What

of himself

he depicts

oongenitallyl

and yet

mimuli

portraiture

he absorbs

whatever

in musio, so that,
ioal'(Chaves)(1).

it

trying

of rational-

a sort

en-soi process - 'The conof Sartre's

pour-soi
the
the
the
and
world,
object
end
subject
sciousness
isation

cannot

the other,

is

it

their

unceasing#

The work of art

piece

of music are not

objeotj

an exterior
sentiment,
extreme
music
oription

manifests

of man in the world.

presence

complex reaction

..,

this

A painting,

primarily

nor the expression

results

from an overbelief

to mane and cannot

itself,
of music
illustrate

be considered
though
well

dynamic
a poem, a

This

rather

in the use of

an accurate

the first

the point

of

of an inner

way of ezisting'(3).

of the quote

which

the representation

but a certain
attitude

through

possible.

structure

makes all

itself

the one articulates

separately,

exist

des-

two, sentenoes

we are making.

many oomposers have. vouohed that

their

musio as a

-58whole is
lative
'I

or at least

autobiographical#

to ps<sonal exp3rienoetl

can write

an 'objective

as Eliot

demanded of poetry.
Hear them played!
In

about my works.

nothing

find
my music you will
'Wy symphonies exhaust

Weber;

wrote

myself(4)9

oorre-

Kahler

said

the content of my entire

existence.
Whoever listens
to my music intelligently
will
see my life
is
Schumann
transparently
more oatiousw and
revealed'(5).
may be gleaned from this
standpoint
(some blder'
compositions)
are
former life;
the man and the
of my agitated

perhaps the more usual

'Mostly they
pasoagos
reflections

times

at all

musician

and I almost

simultaneously,
except

case,

believe

I have learned

a little

as my art,

there

that

to express

attempted

this

to master

is

still

myself,

the

as well

better'(6).

Of deliberate

autobiography

are of course

many examples,

E minor

that

themselves

in

the obvious

one being

sense

Smetana's

he wrote IT had wanted to give

(he
tone
life
picture
a
of my
goes on to give at some length
the autobiographical
mesaing of the various
movements).
That is roughly
the aim of this composition
which is almost
quartet,

of which

one and therefore

a private
instruments

circle
(7).
me'

Wagner gives

for

written

wereq are to talk

of friends

in a narrow
affected

as it

which,

purposely

four

to each other

of what has so momentously

us abundant

encouragement

to regard

therapeutic
and 'an
works as autobiographical#
(all
thing),
the
of
same
correlative'
aspects
objective
'A
In
Communication
to
Friends'
My
the
other.,
after
one
his

he gives
with

a detailed

The Plying

siegfried"

account

of his

self-identification

Dutohman, Tannhuserp

In describing

Lohengrin

the hesitations

and

when beginning

is
his
'Only
this
choice
he
when
made)
when
writes:
work
Neoessityp
thus
the
from
born
pure
when
choice was

in the subject of his choice,

himself
found
has
again
artist
finds
his
true
in
Nature,
then
Stan
self
as perfected
into
life,
then
first
is
it
Art-work
a real
the
steps
thing,

a self-conditioned

and immediate entity'(8).

-592.1.

Seif-Delight

Before
impulse

unconscious
for

himselfp
inward

the sheer pleasure

music for

writes

and writes

the kind

no other

believe

for

purely

or from an,

exists

themselves
they

could
dislike
if

through

which

want to please

othersp

and

it')

it

to say something
its

whether

even if

This

omposing

the idea

that

sincerely

personal

facts

extreme

rather

(seven

if

or

they

would tenounoe

the passage is

exoeptedp

for

They are not

artists.

were not1

false,
be
would

that

than Beauty

rather.

composer
him.

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

not

a real

pleases

it

to Truth

Indeed$

then

who likes

one person

dislike

adherence

that

it

reason

of men who are driven

there

selves

'I

wrote

in minds are not real

have audiences

lure

he is frequently

of writing,

compose because they

Those xio

if

for

neoeasity.

Schoenberg

not

of audience

of any sort

we must oonsider

himeelfg

to reveal

impulse

his

the composerts

part,

to the world,

himself

to reveal

simply

in the nett

we tackle,

they

them-

typical*

music is

a medium

are communicated

consciousness of current

the composer away from sincerity.

audiences can

Vaughan-Williams

Ofusio
iss
first
and foremostf
self-expression
wrotes is
it
that
I feel sure that a an
a falsehood.
without
desert
island
to
life
for
on
a
oontinue
would
marooned
for
musio
make
there

his

were, no-one
Kunio

own spiritual
to hear him'(2).

is not only

fun

amounting

letters
but not

in
more reoent
as

high-priest,
the ohild

to vanity,

to invent,

who is

been written

a little

loved

for

by Chaves that

unit

arts
joy of emulating

it

is worth

doing

the happinooo

for the sense of aohievement,

Mozart's
boings afterwards.
almost

even though

exaltation

his

years;

and prude it
abound in a pride
of the

the vanity
rather

the pride

brillianoe"(3).

the joy

oomplete in itself,

It

of creating

of

has

a work of

is the unoonaoious

God, the Creatord(4).

the
inward
self-suffioienoy
reasons
maderat

This is the more

of oreation

6a.
..
'Art

be created

can only

Yet in the joy

been present

the
Italian
volume of

Xy Joy about

yesterday

...
indesorlbable'(6)p

this

to oomposere,
the second

the twenty-seoond

wonderful

song
is

aohievement

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

violent
concert

blood,

intozioations

of wine,

another ...
imprecations

where brazen

where there

is

joy,

laughter,

and rage vie

voice*

drinking,

in leading

destructions

in

that

blasphemy,

with

blowel

Ah= what a drum roll

...
shudders I felt

one

with

mouths seem to belob, forth

and answer suppliant

rape

murders
wild

finished

song book with

aims,

or unoonsoiously.

works give
'I

Wolfs

hers'are

oompletion,

consciously

either

in

pride

of musical

of the pleasure

Aa examples
after

these elements,

in fulfillment

and pride

have always

own aake'(Soboenberg)(5).

both

of creation

communication

its

for

the heart!

astounding

what

orchestra

...

26.
Truth

the expression

truth,

fashionable
past

sees its

as one sincerely

world

Mozart

truths

changed, they
did not simply

one, unearthed

a psychic

sexual

allotting

or the

The beauties

away.

of the

are now seen as purveyors

of
oorreat: a world, he discovered
Hans Keller,

reality.
for

energies

self,

has become more and more

has faded

as Beauty

have also

of the real

roughly

of beauty, and
(analysis
truth
of

the creation

for

the
propagation
aggressive
accounts for the truthfulness
of
is a form of aggression),
is
that
there
frustration
by
unprecedented
showing
our age
energies

instinct

of the aggressive
the
vice
supreme
considered
'Beauty

comes into

miss it.

Before

does not need it.

(Sohoenberg)(2).
me today.
serve

it

That
in all

being
it

that

(1).

Hypocrisy

nowadays,

in arts

begin

does not

the artist

oan only

exists

for

to

is enough'.

know what the truth

is what I am oalled
luoidity'

especially

when the uncreative

For him truthfulness

'I

is undoubtedly

upon to serve,

(Stravinsky)(3).

After

is

for
41
and, I

Beethoven,

'

-61'truth',
talking
the
about,
and, until
started
composers
frequently
forms
the
used
and
word 'hearts
most
one
was
sort,

between classical

of transition

own 'psyohologioal
Mendele$ohn

wrote

and our

For instanoe#

truthfulness'.
in 1831,

extroversion

"Every

day I am more sincerely

have
to
less
and
even
exaotly
anxious
,I
I
have
for
and
than
when
opinions
outside
ever
regard
from
heart,
then
I
it
Just
my
sprang,
as
oomposed a piece
it
fames
brings
thereafter
have done my duty;
whether
to write

honour,

feel

as

deoorationst

eto. 9 is

or snuff-boxes

a matter

of

to ms'(4)"

indifference

Tippett

Finally,

takes

up the theme of artistic

in
no uncertain
and proclaims
'There
Truths
discovery
the
of
of
day of the artist
receiving
a free

duty

terms
is

the importance

no question

in our

to
mandate from society
But
is
to
The
mandate
of
entertain
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

27

Compulsion
of what ye do(T'. ' This
in
the
necessity
way
means
and'he
war-cry,
(of"p.
in
Leonardo's
'will'
10Pt2II)
and
means

'Believe
was Wagner's

Schopenhauer
$Necessity
sense -

in the necessity

is

idd
the theme

inventor

of nature,

its

him
for
Composing
law'.
as
natural
was
a
and
curb
eternal
bee will
the
flower,
that
blossoming
a
so
the
of
process as
flowers
other
and so propagate
pollinate
and
be attracted,
('strongest
impulse')
Thing
One
this
need-urged
'When
life.
by man as his

fundamental

is reoognised
indispensable,
One
this
and
reach

essence,

then to

he has power to ward off

weak
the
Only
and
appetite
subordinated
",
.
every weaker,
longing
of the
no mightiest
impotent knows no imperious,
himself
however,
in
feels
individual,
the
If
soul:...

a mighty longing,

an impulse that

...

forms the necessary

-62inner
if

urgonco

which

he put forth
lift

aloo

aloft

faculties,

hie

constitutes
hie force

all
his

to catiefy
foroel

own peculiar

and height that

strength
Wagnerian necessity
reach'(2).

to the fulloot

can lie

hie

within

an urge to be onocelf;
We may take it
naturally.

a oompuloion

on3entially
create
of

$an invincible

inner

compelled

composoral
instinotivo
description#

inward

that

impuloo'(3),

to

being'toroed'

they are fulfilling

to give it its least

vocabularies),
drive which0

ever
is

when oompooers write

or #a daily function
oreation'(4)t
(important
to disoharge'(5),
vordo

urge for

fool

and being;
and
its
he thuz will
and all his special

soul

by an
which I
in many

an
flattering

i, a combination

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'

an English

of which

refero'in
?
to
which eats
and
that

gong-tormented

composer has epokon(6)

the line:

'That dolphin-torn,

oea$"

28
Motion
The creative

not

'alone

amt1ofiss
and 'is central

de3ire
lifa'(1),
of
a
with
(2),
Wagner erld Copland speaks
prooees'
Ia
possesses
oignifioanoe
creation
whom

me and fills

me

to the life

both

ara men for

akin to that of
from one angle at least they

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

relieioua
use their

powerful
primitive

fcroeo

men by naming themI muoh as in

the Dower of one'o tribal
enemy's god

within

sooietiee

discovery
by
the
destroyed
was
this
the
of
utterance
name and
To a certain

extent

the composer in that it

forces
dantOroua
caster
solving
negative
unduly

problems
cocount
emphaoieed.

of ito

olosoly

guarded

name.

the attraction

of composing for

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

idol

from his

separated

Harriet

Smithson

before

the
Fantastique
he.
Symphonie
$a
called
for the extremes of pain he had suffered(4);
clever revenge'
the singer
and Wagner, his love for Frau SohrBder-Dovrint
marriage

to Love the absolute,

forced

doomed to by rojeoted,

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,
consolation,

for

on the form of a yearning

take
nobler

in a higher,

appeasement

unseizable
and
.. " a pure chaste, virginal,
ideal of love.
What5 in fine,
could this
the noblest
thing my heart could feel -"

element

unapproachable
love-yearning,

it

be than a longing
for release from the
for absorption
Present,
into an element of endless love#
through the gates of
a love denied to earth and reachable
When I reached the sketch and working out of
Death alone?
what other

could

the Tannhttuser
that

exaltation

was in a state

musiop it
held

my blood

of burning

and every

nerve

a fevered

throbbing'(5).
The failure
feeling

oausedl in its turn, more

ofp feelings
of isolation,

had to be got rid

which

of being

of Tannhduser

utterly

'The very

misunderstood,

feeling

of this

to
mo with the spur and the ability
supplied
to
this
my,
surroundings
myself
could only
address
...
fanatical
from
mood
of
well-nigh
a
yearning,
which
proceed
the
By
itself
of isolation
was born of that feeling
.. "
loneliness

of my longing,

strength

life

I fain

sensuousness

would flee,
...

enwrapt

solitude

the dazzling

it

abide

and chastity

purity

I bad mounted to the realms

...
but the vaporous

And so it

was that]

mes when it

brilliance

was not

woke ...

of chaste

love's
of
shadows

humanest caresses.

my longing

beheld

glance

now drew Lohengrin

Earth's

at last

morass of trivial
had this

the desire

...

blessed
from

to the sweet

From these

das
Weib,
-

from sunny heights

warm breast'(6).

the warmth of

hardly

sanctity

where

to the

heights

the woman who

'depths

of

-64Similarly,
disappointment
its

exiles

The Ring was the release

'hostile

and Isolde
The affair

therapeutios"

of personal

oause of it

was the direot

'the

from

primal

meets us in the legenda'(7).

Tristan

Most of all'

him into

drove

ohill'

of home, that

element

Germany when he returned

beloved

with

of his

is

the supreme work

Mathilde

with

and yet the positive

Wesendonok

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..
every

During

knew that

both

yet

of this

the writing

libretto

theirs

beoause both were married

knew all

they

love

he saw her oonstantly

was an impossible

love,

not

but

plane

because

on the higher

must fade

and for

tre

only

'Tristan

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
level

other

the love-story

power-of
it

because the only

at its

heightq

...
Mere you will

aid.

and aloes.
the pain

(vin.

of love

sublimeat,

radiant

as a god,
$I-feel

Art

calm,

to those

Mathilde's)
heal

see me once more and body ...

its

deep and clear

a marvellous
Hence-

Completion.
with

insight;

a spirit
and beyond the

at you'(8)"
their

they belonged

was justified

Lady

Tristan,

and noble
how mournful is

out upon the world

be gazing

of

how high

is finished

have found

had reooloured

more perfeot
love

in heart

when it

will
look

tinter

learn

And you will

that

life
in
my
epooh
forward I shall
renewed, with
world I shall

at its

healed

heat

They

no more, your wounds will

will

so agonising.

by death.

'brave

to Xathildep

and

was by cutting

in a white

Here the world

desire

ible

'Tristan'

the music

bleed

the beauty

strong

Help men come to my angel's

Isolde

their

remain
in

symbolised

He writes

inspiration.

is

could

and Wagner writes

part

way in which

by its

who renounoe

this

says, speaking of these letters,

relationship
to another
very
world.

ideality,

in purer,
where

world
only

Professor

aooesa-

Gilson

'This language reminds us

and

-65irresistably

of another

spirituality

not

long

the masters

rhioh

of a

but of a different

purer

only

familiarised

with

have

order

us'(9).
2.

Calculation

Consoioue

This
brief

would be unbalanced

section

consideration

the composition

of what Ilusoni
(of. p. 16 ), that

of inspiration

through

which

does not mean it

is not
is

the distinction

"

is doing

inspired

work'(1);

it

'the

less

side

divine

of

the bulk
that

hints;

indeed

'a composer ...

or whether he

nevertheless

conscious

prooesso

by unconscious
he is

more routine

Copland calls

a conscious

tlurre:,

whethor

have commented on this

is

in practice

tell

cannot

sometimes

it

helped

often

the execution
called
intellectual
follow-

in most oases provides

Although

of the composition.

at least

without

many composers

of their

work.
makes it

that

afflatus

for us to compose each day - to produce inspiration,

possible
intuition
in which the
as it were -a
species of creative
type
faculty
is
involved'(2).
The
much
critical
of
more
to by Beethoven's
sketh books must be
composing witnessed
is
a quest for a goal dimly seen, yet nevertheunderstood
less

real

very

unconscious

is present,

vision

The struggles

'Haydn'

Mozart

study'.
explain
to his

quartets

Schubert,
in

of genii
hints
'the

Chapin,

spend hours at a single

hard work in his letters.

are as well

at this

deeply

hidden,
it

through

when it

dedication

of the

and laborious

the composition

aooording

of

known as their

to, Spaun': 's obituary'

logic

bar.

in his

of a long

fruit

according

the plainest

friends.

though very

some sort

process

power.

facilities.

words,

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

and the conscious

reasoning
is 'right'.

In other

and powerful.

would

of his

works

to George Sand, would

Dvorak

frequently

mentions

No oomposerg however spontaneous,

had an easy career.

The entry
reads

in Tohaikovaky's

'Worked# without

diary

any inspiration,

for

31st

July

but suooesafully'.

1884

66".
flow is

this

possible?

denies

Schoenberg

(of#

it

p. 10) yet

in music - 'He who really

he Is also a champion of 'Brain'
be
his
brain
for
thinking
possessed of one
only
can
uses
desires
to 'reoolve his task ... Two times two in four
-

the
'(3).
In
it
likes
other
words
vision
or not,
whether one
by reasoning as well as by intuition
and the
in attainable
in
the
in
the
as
unconscious.
mind
the
Is
conscious
name
prooeou
technique,

With'serial

the calculation

writing,

in
fugal and contrapuntal
Of oourae, as
conscious
the
mind reaches the
of

thinking.
of"mathematical
complexity
by
Schoenberg
quite
at and employed
'I

consciously.

tbe'technique

but also quite

the aim to base the

naturally

occupied

with
unifying
on a

was always

was aimed

of my music consciously
structure
ideaep.
but
the
regulated
only
all
not
produced
Roberto
accompaniment and the harmonies'(4).

idea which
also the
Gerhard takes

bly
have
in
would
piob.
statement
which
a
a stage
Eliot's
his
he
view of
quotes
master's
approval
received
the surface meaning. of poetry -" !_ 'to satisfy
one habit of
to keep his mind diverted
the reader,
while the
and quiet,
further

this

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
The complex

intellectual

work which serial

fulfills
imposes
the
on
composer
organisation
... a similar
function
which allows free play to the
of diversion

composer ...

unconsoicus'(5).
(which
technique
famous
to
Stravinsky's
attachment
(6)
'the
are all
and calculation
whole man'
as
he defines
'The
Rite
Spring'
of
wrote
a
man
who
the more remarkable'in
(af.

)'

2
p.

it

the fervour

extreme,
alone justifying
Apollo.

before
austerity
brought

he has reacted in the

before Dionysus
prostration
as if

is'almost
of his

the fervour

of his

In 1935 he wrote
ballet

of classical
face to fase with

between the Apollonian

subsequent

the ordered
own arts 41 aua thus

comparing

to his

the eternal

wrote

the

conflict

and the Dionysian

be,
final
to
the
ecstasy
latter
assumes
whereas
losing
art
oneself
of
the
aayg
the
of
artist'(7).
full
the
consciousness
that

'Dionysian

prostration

element....

in art

principles.

The

is
to
that
demands above all
goal

In 1940 he
must be properly

_67_
before

Otibjugated

intoxioate

they

to sub-sit, to the laws

he goes still

be made
uns, and must findly
demands it'(8).
And in 1960

Apollo

in answer to Craft's

farther

'You often

question

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
eay that

Thus it

in mind'(9).

thought

other

the discovery

perhaps

simply

appeals

to him.

is

'It

is

of abstract

the idea

If Stravinsky
me'(10).
attracts
.
intellectual
impression. of a uniquely
later

we will

in his

and hard work

to give

contrives

and calculating

see how he oontradiots

unique

remaining

or

in chaos which

order

of discovery

that

order,

abstract

it9

though

the

man,

always

to emotion.

attitude

"

Self-oritioisi

Tohaikovsky
is

calculation

Ssomnabulism',

tells

Madame von Meok that

a stop-gap

the opposite

conscious

between the periods of

up 'cold reason and technical

only;

when they dry

have to be levied

knowledge

Inspiration

after

on for
it

of Stravinsky,

is

In any oases he says,

the strain

! no artist
too great,
(i).
It is inevitable

could
that

the Dionysian
of constant

or nearly

all,

approach.

ecstasy

the
strings
-

survive

is

This

aaoistanoeto

all,

is

would snap$
works are

of inspiration
and calculation,
composed with an alternation
'inside
be
and outside the work at the same time'
one must
(2).
is that in which a passage is
A common pattern
received

as compulsive

checked

over and revised

inspiration

and then it

by the cool

is

carefully

hand of reason.,

the moment of divine

oonseoration
we should
the
first
inspiration;
to
but
meroilooa1y
ourselves
abandon
its
due
have
must
reason
searohing
and with
palm
afterwards
'During

its

bear's

teotions

paws scratch
have orept

that

passage with

this

wild;

fruits

nobler

Strauss
first

'given'

out mercilessly
in'(3).

any human imper-

Sohumann oonoludes

'What is wild

aphorisms

the

may grow up

demand oars'.

describes
a melodic

his
phrase

usual

method,

by inspiration,

wherein

he is

secondly

he

-68expands it

the whole is then revised

and thirdly
form 'whioh must hold its own, againat
final

immediately,
its

and shaped into

the severest

and most detached

self-oritioism'(4).
holds

Wagner, as does Tohaikovsky,

in considerable

calculation
.
his

oontemptj yet, elsewhere admits

('owes, its being to no human Need

heavy dependenoe, on, iti

but

soever,

to itself

purely

conscious

quits,

...,

incapable

of, answering

any sou_1_need')(5)"
(or

'The naive
inspired
his

himself

casts

artist
its

with

driven

feeling

loses

Is the nearest
Apollonians

finished$

when it

is

shows

by hia. imaginationg
This

him oompletely'(6).

approaches

who revolted

into

which preserves
of Reflection
case of
yet in the specific

power over

he ever

enthusiasm

to art-work

again

once more its

reckless

does he win from practical

actuality,

that genuine force

experience
him in general from illusions,
his

truly

as in Sohiller),

when this

and only

artwork;
in all
itself

'natural's

him with

against

and the

to Stravinsky

such violence.

a1'.
Advocate

Comnoser$

There are various

Conscious

other shades of sentiment expressed

mostly
by oompoeers on this subjeot,
the
to
prerequisites
as
advioe
general

lovely

is

there

Firnt,
thought

delivered
of being

in

the form of

a oomposerp

them one by one.

mention

and we will

Powers

that

the common notion

is nothing

'to

the inner

so remarkable',

have a
ringing

its may
Hindemith
Tog
puts
as
and singing
is
'inspiration
found
oomposer's(l);
any
as
be just as great
in every kind of human activity'i
force
writes,
driving
as a
brought
into
by
is
force
'But
that
only
action
Stravinsky.
M or Nrs.

of Kr.

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

the
famous
assooiation of
genius#
of
be
the
to
ear-mark
genius
of all

to
be
borne
seems
with perspiration
Dionysians,
the
extreme
most
except

out by the remarks

suoh as Wagner.

-69Goethe's

to Edison's

equivalent

by mcny more in speeohl

probably

of German art

for

this

That composers have advocated

surprise

'It

the greatest

is

industry

in writing

$)
and

is a characteristic

up to ilindemith.

right

hardly

is

Brahms and Strauss

by Mendelssohn,

was admired

('Genius

remark

intellectual
their

when addressing

use especially

madness to believe

effort

will

pupils

that

serious study
'Weber
to a pupil
the
wrote
spirit'(4),
artistic
cripples
(for such a belief
was far from dormant at this time of
D'Indy
ferment),
his pupils
similarly
cautioned
romantic
Debussy
in
Ravel
his essay advoof
and
against
and named, 'Le Bon Sens' - 'good sense$ which alone
eatingt
the notions
of logic and balance
can make us appreciate
the excesses

there

is no Art'(5)

without

which

a pupil

on the carrying

'persevere

with

out of this

composing

mentally

And Schumann advises

...

conscious

process

and keep on twisting

...

and turning

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).

in Weber's

Implioit
technique
poetry

by its

Will,

discovered

because Franklin
We may take
can consciously
thunderstorm,
not

in both

this

construct
(two)
and

impede inspiration,
In fact

music.

above is'a

fear

that

prosaic natures somehow rob from the

is summarily disposed of by Busoni

'Have thunderstorms

the remark

with

This

of music.

remark

from the world

vanished

the lightning

conductor'(7)?
(one) that composers

its

meaningal
music as breathtaking
that

the knowled

of technique

nor the appreciation

Schoenberg

as the

and Wagner claim

does

of inspired
that

it

is

the

that
own unconscious notions
(Most
technique.
by
the
students start
otudy of
leads to
inspirations).
Other
composers'
rationalising
desire

to understand

for

'The desire
and forms will

arise

to know oonsoious

one's

a oonsoious

in every

1 the laxe

artist

of the new means

control

Is mind; amd','he will

and rules

which

govern

the

*as
in a dream % Strongly
has
he
conceived
forms which
dream
have
beeng
the
this
may
conviction
as
convincing
laws
the
of nature
obey
new sounds
that
the
orders
conviction
thinking
-

wish

that

these

and of our manner

of

comprehensibility,

and form

cannot

be present

without

obedience

to such laws
-

-Toforces

the road of exploration*

the composer along

if

find,

at least

not laws or rules,

lie must

Ways to justify

dieaonant

of these harmonies and their

oharaoter
(3ohoanberg)(8).
And, Webern *oboes 'Don't write
is

by ear - you must lcow why one progression

bad'(9)"

in, teohnique

interest

Wagner's

is

the

suooesoions'
musio entirely

good and another

'If

kinds

of this

(by which Wagner means oompoaer-dramatist),

who thus
to,.
fain
take
from
oonsoiousness1
would
unoonsoiousness,
speaks
him
Zwar)
bids
the
compulsion
use
natural
which
count of
the poet

this

expression

and none others,

to know the

then he learns

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
nature

Finally,

not

it

that

to the oomposition.

conducive
take

we learn

that

to the

the initial
not write

this

refers

emotions

strong

of a work butve

to the

are, not
may safely

'exooution'

phaeet certainly
to the 1oonoeptioniq

'ideal

phase and even less

(of@
).
'A frenzied
16
Roland could
vision
p.
Orlando. Furioso;
a loving heart cannot discourse
In order

of love

...
it'(Sohumann)(11)"

to move something
tThose who imagine

we must not
that

stand

on

a creative

he
his
feelings
the
when
express
at
moment
can
artist
...
Emotions,
is moved, make. the greatest
sad or
mistake.
joyfulp
can only be. expressed retrospeotively'(Tohaikovsky)
(12)"

,"
Berlioz

of Lee Troyene

wrote

besets me in composing
fact that the feelings

the music for

lam

called

'Another
this

danger

drama is

upon to express

that

in the
are

This
bring
deeply.
the
too
can
whole
to
one
inclined
move
dealt
be
Passionate.
with
aubjeots
must
to.
nought.
matter
in cold blood'(13)"
'The artist,
to be lost,

if

the oontrol

over

his

he
be
when
wishes
moved
not
must

medium in not
to move others'

(Buaoni)(14)"

#I work very
emotion,

even.

coolly,

without

agitations

Ono has to be thoroughly

master

without
of oneself

.D71_
that

to regulate

ohanging5

been cold

obese-board

must have
composed Tristan
(Contradicted
fervently,

The head that

orchestration.

flowing

moving,

as marble'(9trause)(15).

' he would never

leave
own'vritings,.
for one sentenoe, and speaks
the domain of the instinctive
where
'even
he
thus of the rational
compositions
of
side
by Wagner's

of course,

needs deliberation,
to an objective

to shape the picture

of his intuition
familiar
his
by
of
aid
on
of
art
work
ohoioe. of his expressional
(Reason) proper,
by Refleotion.

decisive

teohnique,.

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

bent

but

makes out the very

However, in a letter

that

gift'(16).

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

means

phase in
or sketch

these

worden

out a scene I

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
am already

for

me and a detailed
completion

considered
is

creation

'I

already

of a work whose moment of actual

)
over'(17).
that

may affirm

the creation

looked

upon as the least

has never

pages which

imperfect

been present

are generally

of my production..

state for
any doubt the most favourable
(that state which the uninitiated
look

Without
creation

lese
or
a more

is equal

between conscious
latter

In this

activity).
talking

about

rather

of that

as inspired

(Chave$'s

the composer is not

as Verdi's
and it

from the idea,

which

the composer,

manipulations

ezample)(19),

constant

but

is never
type.

the Stravinsky

of a single

motif

renewal

are,

of melodies

must be concluded

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

lucid

an extremely

and unconscious

as divided

of inspiration

to subjugate

permitted
But Strayinsky's

upon as

We must be

quotation

the execution
type

artistic

states of unemotional
assigning
(Casella
himself
says the
planes

to conscious

balance

simply

aotivity'(Casella)(18).

of automatically

activity

is

fever)

divine

phase of cerebral

quite

emotion

of those

during

chary

is more a quiet,

treatment

musical

one concerned

that
with

crystallisation,

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

"r

-72referential

meaning are worked out more smoothly and with

(a more exaot word is'not
$rightness$
poooibls,

greater
for

that

is

it

'right'

the oomposer knows).

is all

L2"
,

Seecond

Chronologioally

the creative

in no way a prescribed

is

'Inspiration

but rather

aot,

a manifestation,
Stravinsky's

seoond'(l).

chronologically

is

in the Poetics

inspiration

is nothing

for-there

also

is balance

'Everything

condition
that is

worth

careful

like

quite

discourse

it.

of

on

consideration,
He continues

through

and calculation

the

which

(a perfect
blows'
definition
of the speculative
spirit
'intellectual
tone' of inspiration).
'It is only
our
of
that the emotive disturbance
afterwards
which is at the root
'.. 0 this emotion is merely a
of inspiration
may arise+.
breath

on the part

reaction

known entity

which

is

and which

of the creator
is

still

to become a work of art.

discoveries,

to the emotion

givesriae

the work.

It

like

--

...
this
-

of his

is

this

of the appetite

of saliva

follows

closely

the phases of the creative

process'.
at face value, this view seems closer

of pride

sort

have written,

that

invariably

to the

composers feel about what they

above on page 60, than to any

and pleasure
mentioned

of the unconscious

opening

of

that

causing

emotion

will

chain

a flow

Taken strictly

it

disooveryl
that

un-

creating

Step by step

as each individual

as well

that

with

the object

only

him to discover

be granted

grappling

valve

its

with

accompanying

trance
transcendentalism.
emotion,
or
revelation,
of
aura
is overstating
that Stravinsky
Yet it seems more likely
his

of his

distaste

and his

quibble

case in emphasis

Dionysus

generally,

Dionysian

associations
tone his

intellectual

of the

for
is

Wagner and

really

the

with

word 'inspiration'.

Kuse adopts

would not,

The
to his

mind,

But that there is something beyond

the
word.
qualify
(obvious to all listeners)
is
shown
plain calculation
'I
later
his
to
by
remark
can
only
start
more clearly
for

leap
to
hope
work and
surely,
it

is

a little

in my spirit'(2),

is more than a 'manifestationf'and

'chronologically

second'

and this,
the fact

does not mean that

it

that
does

-73what is

not

affect

set

to work with

word but,

third.

chronologically,

inspiration

no particular

as Schoenberg

Composers frequently
in any sense of the

'an artist

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

1924,

took

when I first

in hand the Sonata for

its

determined

I had already

piano

says,

violin

and
form,

somewhat unusual

...
for the instruments,
the manner of writing
and even the
themes
three
for
the
the
each
of
movemen"tu beforo.
of
character

$inspiration$

had begun to prompt

that

And I do not think

one of these

a single

I chose the shortest

themes.
Only

way'(4).

'
does the

determined
has
the
composer
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

Everything

an incomprehensible

with

a work an indissoluble
without

chain

is

much inspiration,

the composer is

reads

over A and B and immediately

fired

to write

excitement.

forgotten,

gets 'into'
may have been

but

on reading

B; the next
C springs

If

inspiration

to his

the composer needs to fulfill

has not

it

day he

in an ever-inoreasing

and then Dp and so on$ often

and emotional

is

and indescribable

forgedp'it

over,

the time

also

Thus when a composer really

exoitement'(5).

constructed

'The work progresses

passages

mind,
rapidity

come by

a commission#

for

to oonsmenoe the work

he may feel it is his 'duty'
'he
is
Inspiration
must
not
a guest
wait.
nonetheless
indolent'
to
those
does
visit
who
care
are
not
who
instance#

(Tohaikovsky)(6).

Notes

TILE COMPOSERAND TILE UNCONSCIOUS

2
Souroe

Unoonaoious

Direot

dated June 1878 to Hmee von Heok, quoted

Letter
by Herbert Weinstock 1946.
'Tohaikovsky'

dated June 24th 1878 quoted in 'Life

Letter
and Letters
translated
Rosa Newmaroh,
of P. I. Tohaikovsky',

New York,

in

306.

p.

Ibid.

Loo.

Music and Imagination

- Aaron
Lectures),
III.
chapter

Aphorism of Schoenberg, quoted Hans Keller

'Moses and Aron',
The Score Ootober'57.

Stravinsky,
p. 147.

18 July 1896.
Mahler, letter
to Anna Bahr-Mildenburg
'Gustav Mahler: Briefs'
S. Morgenstern.
Alma Mahler,
trans.

Letter

10

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

11

Moving into Aquarius, 1959, chapter

Michael Tippett,
'A Composer's Point of View. '
entitled

12

dated March 1878 quoted

Letter
p. 170-

13

Letter

14

Busoni = Letters
under '1915'-

15

Schoenberg,

16

Bliss,

17

Letters

18

Biohard Wagner's Prose Works1 translated

1895, Vol. VII 'The Artist
and Publicity'
1841) P. 134.

19

Prose Works Vol.

20

Copland, jMusic

21

'Tohaikovsky',

cit.

Carlos
p. 30.

Herbert

Weinstock.
(1952

Copland

Norton

in article

and Developments, Faber 1962,

Expositions

quoted by G. Etvesz,

Psychology

of Music,

quoted Etienne

symphony,

Weinstock,

Style

Letter

to

and Idea,

trans.

It

edited

Vol.

Emily

'Autobiographic

and Imagination1
Musical

R. Ley,

p. 306.

letter

p. 71.

'The Chestenian'

of Beethoven,

Chavez,

Wife,

Gilson,

Tohaikovsky,

dated 24 June 1878, R. Newmaroh ope cite

to his

p. 199.

Thought

IX Jan.

Anderson

1928.

1960,

p. 462.

W. A. Ellis
(article

Sketch'

1842, p. 6.

chapter III.
(1958-9

Norton

Lectures)

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

22

Hector Berlioz
W. F. Apthorp

23

Richard Strauss - Recollections

and Reflections,
L. J. Laurence, essay
Schuh, translated
edited Willi
1940) p. 112.
in Music' (circa
'On Inspiration

24

Arthur
VIII.

25

Kunio

26

Prose Works,. Vol.

27

Musical

28

between Debussy and

Unpublished
conversation
1889, taken down by Maurice
E. Guirand, '0otober
in Debussy exhibition
Paris
Emmanuel (exhibited

Je suss oompositeur,

Honegger,

and Imagination,

Thought,

II

chapter

1951,

chapter

III.

Opera and Drama, p. 268.

p. 51-

1962).

Ab3orntion

Lettera,

Emily

Anderson 1938,

letter

319"

Mozart's

Ibid.,

by Vernon Cotwals of the

Joseph Haydn -A translation
and
(1810)
A.
by
Criesinger
C.
Notizen
Biographisohe
by A. C. Dies (1810),
Nachrichten
the Biographische
(Madison 1963) p. 141.

Letters,

Letters
(Arnold

Chopin's Letters,
1932, p. 30.

Schubert -A documentary biography,

section '1818'.

and Reminieoenoesr
Antonin Dvorak - Letters
R. F. Samson, p. 87translated

Letters
11 July

10

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

11

Correspondence and Papers of Cluck, ed.

The Collected
Stewart Thomson 1962,
B. K. Mueller von Asow translated
'AloesteO,
du
Roullet,
librettist
Bailli
to
of
letter
dated July 1775"

12

Wagner, letter

13

Correepondenoe of Wagner and Liszt,

dated April
1853.
1888, letter

letter

edited

384-

(1801).
52
p.
of Brahma to Clara Schumann, edited Dr.
1872.
dated April
& Co. London), letter
oolleoted

of Edward Elgar,
1900.

to Mathilde

Opieneki,

translated

Litzmann
Voyniok

Otto Deutsoh, in
Otskar

ed. Percy Young, letter

Sourek,

dated

ed. C. Van Veohten,

Wesendonok, Autumn 1858,

translated

Venice.

F. ueffer

j1

14

Letter

to Piorre/

15

Moving

into

16

Letters,

17

Ibid.,

Louj3 22 Jan.

Aquarius,

dated

1895.
Pernlioher

esaay'-

Bekennti.

ia.

1641.

1831.

dated

Sterility

Interior',
Moradas Sextaa,
St. Teresa, 'El Castillo
IUnderhill
XIS
'Mysticism'
1911, p. 395E.
quoted
chap.

'British
Murray Schafer,
interview
with Tippatt.

Letter
to Giuseppe Adamip librettist
of 'Turandot',
'Composers on
10 Nov. 1920, quoted Sam. Morgenstern,
Uusio',
p. 295-

Correspondenoe

Carl

Letters,

H. C. Robbins Landon - Collected

Correspondence
Landon Notebooks of Haydn, p. 154"

Letters
August

Bedrioh Smetana - Letters

and Reminiscenoesp
by Frantisek
Bartor,
translated
D. Rusbridge,

10

Letters

11

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

12

Je suie compositeur,

Maria

Composers in Interview',

of Wagner and Liszt,

p.

97,

Jane- or Feb. 1854-

von Weber by Baron Max Maria

von Weber, p. 368.

No. 585.

of Brahms to Clara
1855-

of Edward Elgarj

Sohumann, letter

letter

written,

Mazzatinti,

and

dated

compiled
p. 259-

in 1920.
Firenze

1902),

Introduotion.

Necessity

Style

of

Unconscious

and Idea,

p. 166.

3ohoenberg,

Letters,

number 586;

Letters,

p. 927.

Correspondence of Wagner and Liszt#

October 1849"

of K-594-

p. 46p letter

dated

dated May 1859"

Ibid.,

letter

Lettrsand

Gustav I4ahler, Memories and Letters

letter
Basil Creighton,
translated

Correspondence between Richard Strauss and Hugo von

P. England 1927, letter
translated
dated
}Iofmannsthalp
15 May 1911.

Reminiao3noes,

p. 101,

letter

to Simrook.

by Alma Kahler,
to wifop June 1910.

Infallibility

of

Poetics

Unoonsoious

of Music,

p. 25.

Stravinsky,

Letter
to Jacques Durand, 3 September 1907, quoted
S. Morgenstern,
Composers on Music, p. 330-

Aaron Copland, Copland

America'.
1952.

R. Vaughan Williams,

Liszt,
Symphony 18559 trans.
Berlioz
and his 'Harold'
0. Strunk,
Source Readings in Musical History,
p. 853-

Prose Workap Vol.

p. 183-

Style

Prose Works, Vol.

Style

10

Rosa Newmaroh, Life

loc, cit.

11

and Idea,

on Music,

National

talk

'Creativity
1932,

Music,

in

chapter

VI.

I# The Artwork of the Future 1849,

p. 192.

II

Opera and Dramas p. 13.

and Idea p. 106.

and Letters

of P. I.

Tchaikovsky,

r
Prose Works, Vol. III Zkunftsmuaik (Public
n, Villot
as preface to Yrenoh translation
1861), p. 330libretto-poems

12

Webern, Towards a New Music, lecture

The Score, Jar.. 1961, p. 379

13

Mendelssohn,

14

0. Deutsch.
of 1824.

Letters,

letter

'A dooument4ry

dated

letter
to
of four

translated

in

December 1830, Rome.

biography',

Lost notebook

THE PROCESS OF COMPOSITION

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

Letters
'Politik'

}3usoni, The Essence of Music, translated

'How I Compose' (answer to questionnaire

D'Indy,

Jan.

to the Chesterian,

Letter

Dukas,

Style

and Idea,

Ibid.,

p. 102.

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

Stravinsky,

Tippett,
Moving into
an Opera'.

10

Letters,

11

Towards a New Musiog op. cit.

12

Prose Works,

R. Ley,
1907).

p. 50,

R. Newmaroh 1809,

translated

Cesar Franck,

in

1928,

p.

97.

on inspiration.

p. 18.

Aquarius,

article

12 April

1917.

dated

p" 55'The Birth

of

p. 37(1870),

Vp Beethoven,

Vol.

(1949 -50 Norton

1935,

of My Life,

Chronicle

letter

World

P" 75"

Approaoh

as in

Mist

Roger Sessions,
essay 'The Composer and his
Form.
Feeling
Langer,
Suzanne
and
quoted
Conversations

with

Robert

Stravinsky,

Message'

Craft

I
(Faber '57)

p. 16.
3

Je Buis

In conversation

Murray

compositeur,

Schalere

with
British

ohapter

VIII.

the author.
Composers in Interview

p. 45"

Notea

Aotual

1A

Composer's

or

World,

Given

Shapes

ZV.

chapter

Composers in Interview,

British

Sohafert

Richard Strausse Recollections

in Kunio.
'On Inspiration

Letter

The Diaries

Joseph Haydn, Biographische

Vernon Gotwals,
translated

Poetics,

Robert Schumann, On Music and Musioiansl

P. Rosenfeld,
translated
p. 36.

Prose Works, Vol. VIA 'On Operatic

(1879 Bayreuther
Bltter)
p. 170.

to The Cheaterian,

p. 72.
p. 112,

and Reflections#

Jan.

1928.
Wladimir

translated

of Tohaikovsky,

Notizen
(Madison

Lakond.

by Griesinger,
1963), p. 61.

p. 55ed. Konrad Wolff,

and Composition',

Poetry

10

Period
Acknowledgement
of
Preparation
Gestation,

Tippettl,
view'.

Moving into

Aquarius,

Letters,

number 286,

(1778).

Letters,

p. 1542,

Conversations

British

Jung,
Types'.

'A Composerta'point-of

(1826).
p. 132.

Stravinskcr,

with

Composers in Interview,
definition

of

p. 45.
in glossary

'Symbol'

7
8

Seleotions
Heotor Berlioz,
Apthorp, p. 28.

The Life of Hootor Berlioz,

Berlioz,
(Everyman'e Library),
p. 158.

10

Prose Worker Vol. I,

(1851), p" 301.
Ibid.,

Autobiogrophio

of

International
389.

#on Inspiration';
Ernst Kris,
Vol. XX'p.
,Bayoho-Analysis,

11

of

from his

writings

'Psychological

Journal

by W. F.

ed. J. M. Dent

'A Communication to My Friends'

Sketch

(1842)

p. 17.

of

12

to Pierre Lout's 29 Maroh 1898, translated

Letter
Clef* p. 106.
The Literary
Lookepeiaer,

13

Letter

14

to wife 11 Sept. 1906, translated

Faure, letter
Clef'.
in 'The Literary
Edward Lookapeicer

15

Ibid.,

16

Stanford,

17

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

18

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

19

The Life

20

Prose Works,

21

Moving into

22

Prose Works,

23

Letters

12 Sept.

to Andre l4eeaager,

Vol.

17 Feb.

IV 'On State

1864i

and Religion'

Schumann, letter

of Brahma to Clara

P-308-

Bekenntnis'.

'Persnliches

Aquarius,

1897.,

1861,

Zukunftsmusik

III9

Vol.

(Now York 1954),

p. 145-

Berlioz,

of Hector

by

p. 143.

Conpoaitiong

Musical

1903-

1904.

21 April

to vife,

letter

in

p. 5-

dated

July, 1896.
24

Stravinsky,

Expositions

p. 135.

and Developments,

11

for

Preparation

Conscious

Laski,

Ecstasy

(London 1961).

Marganita

Busoni,

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

to Anna Bahr-Uildenburg,
Letter
biorgenstern
op. cit.
P. 312.

'At the Crossroads'

Morgenstern
quoted

Letters

Eorits

Wife,

to his

Inspiration

p.

99"

31 August
p. 10.

article
op. cit.

our la Musique

1901,

18 July

translated

1896,

in The Sackbut,
p. 205(Paris

I,

(1920),

1948).

Dukas,

Berlioz
and his 'Harold'`EyVphcny',
Liszt,
861.
Readings,
p.
Source

Strunk,

Memoirs, 2nd edition

Cretry,
Readingsp p. 717-

Source

Je Buis

10

Ibid.

11

Letters
Leos Janacek translated
D. Stedron,

compositeur,

chapter,

1797,

Strunk,

VIII.

compiled
and Reminiscences
G. Thomsen, p. 188.

12

Blooh, programme notes

op. oit.
p. 414.

1933,

quoted

13

Baron Marc Weber,

'Carl

Maria

von Weber'.

14

R. J.

15

Letters
and Reminiscenoeep
23 September 1985.

16

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

17

Ernest Newman,'Hugo Wolf'.

18

Style

19

J.

20

Rsooilootions

Edward Elgar,

Sir

Buokley,

Morgenstern

1905, p. 75.

p. 100, letter

'Composition
Idea,
and

twelve

with

Brahms (1911),

A. Puller-Maitland,

and Refleotione,

dated
'Husio

tones'(1941).
69-70.
pp.

p. 114.

12

Gap

The

iooratea

Stravinsky,

'Mono'

to kono,

Busoni,

Letters,

translated

Memories and Commentaries

Bosenoe
The

;,

p. 124,

'how

Musio,

of

1959,

C. M. A. Opube.
p. 114.

I Compose',

p.

51.

p. 1308.

'8ampf und Sieg'

Literary
notice'on
von Weber' by Baron Max Weber.

in

'Carl

Maria

p. 34-

On Mueio and Kuaioiane,

Quoted by Sohoenbergg

Reoollootions

Style

10

The Technique of My Musical Language,

1944, preface.
Satterfield
translated

il

Summa Contra Gentiles

iii
chapter LXVIII.

Style

and Idea$ p. 170-

and Refleotiona

and Ideas

quoted

p. 112.

p. 109.

translated

Fr.

13

STIMULI

TO COMPOSITI08

Bu$oni,

The Easenoe of Musiog p. 132.

Chavez,

Musioal

Thought,

p. 36.

Olivier

Messasen,

J. Riokaby

S. J.

The Composer and his

Message (1941).

Roger Sessional

On Kunio

Maurice

Arthur Schopenhauer, The World as Will and Idea I,

translated
R. Be Haldane (London 1908)0 P. 339.

p. 38-

and Musioians,
Ravel,

Esquisse

Autobiographique.

14

Expression

Nusioal

number 339-

Lotteral

Ibid.,

Letters,

letter

Chopin's

Letters,

Lottore,

number 238a-

The Life

of Hector

Letters

'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.,

10

Busoni,

11

Prose Works, Vol.

12

Giuseppe Verdi,
A. 0berdorfer,
2 May 1885.

13

On Musio and )usioians,

14

Prose Worka

15

Ravel's reply to Jules Renard in Journal 12 January

J. Barzun 'Pleasures
translated
of Musio',
p. 163.

16

Musical

17

Stravinsky,

18

Conversations

19

Elizabeth
Interview,

20

Letters

21

Prose Worksg Vol.

Ibid.,
p. 316.

22

number 426.
dated
in

October
'1818'.

p. 84-

Berlioz,

of Brahma to Clara

to Taneyer

letter
Sketch

1842.

Schumann, letter

April

dated

of a Nov Esthetic
V,

dated

August 1854-

1878.

of Music.

'Beethoven'

(1870),

P. 72.

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

Vol.

Thought,

p. 181.

'A Comiunioation

to my Friends',

p. 20.

Chronicle

of My Life,

with Stravinsky

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

p. 91.

p. 126.
British

Composers in

p. 90.

Opera and Drama, p. 307-

p. 363.
1907,

15

Stimulus

Muaio

of

(1921)

in Tempo No. 13i

Autobiographical

Dvorak,

Memories and Commentaries, p. 110.

Letters

Chronicle

'Trends in Modern Musio',

Lines Paris Review 1958.

Letters,

letter

Letters,

No. 219 (1777).

article

p" 119.

and Reminisoenoes,

Letters

1939-

'19081

to his Wife,

p. 137,

of my Life,

dated

Pierre

August

Boulez;

in United

States

1831-

16

Ob eots

'Carl

83p.

Baron Max Weber,

According

Memories and Commentaries,

Gretryp Memoires on Essair sur la musique 1789, (Liege

1914) p. 354, translated
Morgenstern op* cit.
p. 74-

Cyril

to Honegger,

Soott,

Maria

von Weber',

'Je Buis

compositeur',

chapter

VIII.

p. 95-

The Philosophy

of Modernism,

p. 16.

17

Nature

p. 258-

Letters,

on Music and Musicians,

Letters,

letter

dated

1. December 1830-

Letters,

letter

dated

January

Letters

to his

to Maurice Delage from Rhine steamer, 29 July 1905,

Letter
E. Lookspeiser,
The Literary
Clef, p. 130.
translated

p. 258.

1831, Rome.

Wife's p. 101.

Ecstasy (1961),

Marganita Laski,

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

p. 106.
E. Lookepeiser,

18

Event

Prose Works# Vol.

I,

Letters

of.

On Musio and Xuaioiansp

Moving

The Listener,
30 July
talk by Britten.

Letters,

into

British

1849),

P. 38-

p. 130.

and Reniniaoenoesp

Schafer,

(Paris

and Revolution

Art

Composers in Interview,

p. 116.

p. 260.
'The

Aquarius,

Birth

1942,

of

an Opera'.

'How a Musioal

Work Originates',

p. 948.

19

Fine

Letters,

Stravinsky,

letter

Arts

dated 16 October 1830.

Chronicle

of my Liter

p. 78.

20

Literature

from his

Selections
D3rlioz
p. 28.1

Condensed and translated

dedicatory
Correspondence,
Coll.
1767December
Tosoanap
of

Esquisse

Conversation
repeated by Lobe,
Music 8th Edition
p. 199.

on Music

writings

by W. F. Apthorp,

liana Keller.
to Grand Duke Leopold

autobiographique.

and Musicians,

p, 51.

Oxford

Companion to

'Harold'
his
Symphony, translated
Berlioz
and
Source Readings p. 863 and p. 866.

Liozt,
Strunk,

Prose Works,

Recollections

10

Concert

11

Autobiography,

12

Chroniole

A Communisation

It

Vol*

p. 365-

89.
p.

and Refleotionsp

review

to My Friends,

1838.
Spohr"

Louis

p. 91.

of my Liles

21

Poetry

Beethoven, Briefe und Qeaprftohe p. 145" tranilated

Langer, Feeling and Form p. 153.

Chroniole

Ibid.,

Letterer

5.

K. von Hellborn,
A. D. Coleridge,

The Life

The Letters
translated

of my Lifeq

p.

91.

p. 278letter

dated

28 August

The Life
Vol. III

of Heotor

1831-

of Franz $ohubert,
p. 160.

translated

p. 117.

Berlioz,

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

22

story,

situation

and Form p. 159"

In Suzanne Langer, Feeling

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

'At work on King Priam'# article

Michael Tippett,
1961.
January
Score,
The

20, quoted

in

489.
no.

Letters,

Ibid.,

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

71

chapter

no. 428.

Copialettere

di

Memories, translated

Giuseppe

Verdi,

Be Gile Riob,

1854 aeotion.

Reoolleotions

W'eberg by Sir Julius

'Elektral

and Ref1ootions3

Benedict,

1942,

P" 154"

1881.

23

Supernatural

Ootober 1666,
to Edmond Galabert,
letter
Biset,
Clef, p. 43.
The Literary
E. Lookepeiaer,

Buaoni,

Letters,

Correspondence

Converuationa

A. Co Dies, 33iographiaohe Nachrichten

von Joseph Haydn
(1810), translated
Vernon Qotvals (Madison 1963) P" 139-

Blake,

Preface

Aimsky-Korsakov,

10

The Life
Ferrandp

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
love,
Dionysian
one
more or less modern
of musical
(works
them),
the
Apollonian
that
thrill
of
other
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.

12

Prose Worksg Vol.

13

Winfried
Notes',

14

Towards a New Music,

translated

p. 40.

The Es enoe of Insio,

p. 175.

letter

of Wagner and Liszt,

ich

p. 125-

Stravinsky,

'Jerusalem'

LXL. 44.
(1610)

to Gradualia

edition.
Life,

My Musical

Il

p. 174-

p. 118, letter

of Hector Berlioz,
January 1832.

'A Communication

Zillig,
quoted
appendix.

in Rufer,

op. cit.

'Composition

p. 37.

Autobiography

Thought,

Musioal

Compare Copland's

p. 5.
remark,

to Humbert

to my Friends',

24

dated May 1855.

p. 3Z1 part

II.

with

p. 326.
Twelve

in Domaine J4uaioal,

Objet
L'Impoasible
Pierre Boulez.

Baron Max von Weber, Carl`Naria

edited

von Weber, preface.

Guardian

Quoted in Manchester

On Music and Musicians,

Letters

Prose Worksp Vol.

2 February

p. 259r letter

and Remirisoences,

1957"
to Kossmaly,

1843-

p. 190.
of the Future

Ig The Art-Work

(1849),

P"73"

25

Self-Delight

and Idea,

p" 154.

Style

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
himself
hear
A
to
someone
composer
make
wishes
...
intelligible.
' (Nationd.
is the prime motive.
This surely
Musiot
1932).

See, for

Musical Thought, p. 33-

Style

Letter

'Selections

instance,

and Idea,

Letters,

no. 452"

p. 51-

to Frau von Lippenheide,

from his

Writings',

27 April

1896.

p. 156.

26

Truth

to 'Benjamin Britten',
by Hans Keller
Contribution
Mitchell
Hans
Donald
Keller.
by
and
edited
symposium

Ibid.,

Chroniole

4
5

Letters,

Zeller

quotes

of My Life,

letter'dated

moving into

Aquarius

Sohoenberg's

Haroniglehre.

p. 286.

July 1831'The Artist'fl

Mandate'.

41

27

Compulsion
r

Prose Worksq Vol.

Ibid.,

Tchaikovsky,

Life

Schoenberg#
of Music'.

Style

Stravinsky,

Chronicle

Cyril

looe

It

The Artwork

p. 131-

p. 192.

oite

and Letters,

p. 306.
'Criteria

and Idea,

of My Lifeg

The Philosophy

Scott,

of the Future,

for

the Evaluation

p. 283-

of Modernism,

p. 1.

28

E eotion

Correspondence

of Wagner and Liszt,

Aaron Copland,

Copland on Musio,

Ibid.,

Autobiographical
sketch in Tiorsot's'Lettros
Vol. II.
eorito
on Francais,

Prose Works,

Ibid.,

loos

cit.,

p. 339-

Ibid.,

be.

cit.,

P. 357-

Letter

to Mathilde

Choir

be.

letter

dated

January, 1859.

P. 52.

cit.

Vol.

I,

A Communication

do Musicians

to my Friends,

P. 322.

Wesendonok, Venice.

of Muses, Etienne

Gilson,

translated

Maisie

Ward.

29

Conscious

The Making of Music,

Vaughan-William,

Music and Imagination,

Style

to Nicolas
Letter
'Benjamin Britten'

and Idea!

Calculation

chapter

p. 22.

III.

p. 51Slominsky,
p. 344.

quoted

and translated

H. Keller,

Roberto

Conversations

Chronicle

Poetics,

Conversations

10

Poetiost'p.

Composition

Quoted Rufer,

Gerhard

Stravinsky,,

with

with

Twelve Notes.

p.. 26.

p. 164-

of my Life#
80.
p.

p. 20.

Stravinsky,

with
51.

30

Self-oritioism

VIII

Inspiration

after

Tohaikovsky's

p. 171,

dated

1878.

Weinstock,

Copland,

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

Prose Works, -Vol.

Ip The Art-work

Prose, Works,

II

Music

letter

March

and Imagination,

chapter

p. 115.

and Reflections,

Vol.

III.

of the Future,

p. 118.

Opera and Drama, p. 36.

31

Com-oosers

Advocate

Consoioua

A Composer's

Hindemith,

Stravinsky,,

Letters

to Benedict
Letter
op. cit.

Chroniole

World,

23 July

Vincent

on )Qeioand

The Essenne of Musiop p.

style

Xusioianst

p. 106.

II.

p. 283-

p. 195.
1824 quoted

Le Bon Sons.

Ideal
and

chapter

of My Life,

and Reminiscences,

d'Indy,

Powers

(printed

p. 78.
181.

Baron Max von Weber,

1943. Liege).

Conversations
Humphrey 3earle,
Times, 19401 p" 405-

10

Prose Works# Vol.

11

On Music

12

Life and Letter

24 June 1878-

13

Letter
1856.

14

The Essence of Musio!

15

Oxford

16

Prose Worker Vol.

17

Burrell

18

Casella,
Alfredo
The Chesterian,

19

Musical

with

Webern, Musical

Opera and Drama, p. 268.

III

p. 51.

and Musioiansp

of P. 1. Tohaikovsky,

letter

to Mae von Mock,

Carolyne Sayne-Wittgenstein,

to Princess

12 August

p. 40-

Companion to Musioq p. 202.

dated

Collection,

Thought,

'Zukunf tamuoik',

III#;,

p. 291.

1845-

to symposium '0n Inspiration',

contribution
Vol. XIS January 1928.
p. 31.

32

Chronoloioally

Poetioa,

Second

p. 50.

Stravinsky,

Memories and Commentaries,

Style

Letter

Life

Ibid.

and Idea,
to

p. 156.

'The Chesterian'

and Letters,

p. 117.

lea.

cit.

LXS January

1928,

On Inspiration.

Part

II

TAE COMPOSER AND 1113 AUDIENCE

THE COMPOSER AND HIS

Once again
belong

Desire

to

it

be seen that

composers do not

of attitude,

but rather

will

to any one oategory

something

of every

composers

show a strong

have full

confidence

technique

or with

Impress

in their

attitude
in

they
ith

have to say.

what they

the oomposer was intrinsthe feeling

with

of

such as Haydn soon experienced

and success

security

before

impress
to
-

themselves

have

Kost ycu g

make-up.

to impress

desire

In the days of patronage

though
bound to impress;

ically

AUDIENCE

Esterhasy,

the desire

relationship.

In Londoxy where Haydn vas Qt first

not
he wrote the 'surprise'
Andante for this reasons

confident,
11 ras interested

fades

at

into

in surprising

new, and in making a brilliant

Pleyel,
who was at that time
London (in
before

1792)

mine,

should

its

and Pleyel

Mozart

was insecure

him.

countless

highest

Grand Duke of Russia

something

my student
in

Allegro
Bravos,

of
but

peak at the Andante

Enoorel

sounded in every

complimented

me on the idsa'(l).

in worldly

matters

and

dazzling

This oonstant
genius.
(then
and astonish
all would be
in part,
desire,
which stimulated

and it was this

he wrote
Tcr instance,

well)

so that

of

had opened a week

and incompetent

was to impress

with

The firnt

me.

Encore)

was his

sort

engaged by an orchestra

met with

himself

throat,

desire

debut,

outdo

not

the enthusiasm reached

with the Drum Stroke.

one seourity

the public

and whose concerts

my symphony had already

his

a different

to impress

11 Seraglio

the

ooming to Vienna

who was shortly

and

had
to
hear
Mozart
that
delighted
be
specially
would
'the
in
time
this
short
opera,
and
auch
a
oiroum..
written
date
the
in
of
performance
with
andq
connected
stances
generals
degree

my other

all
that

and remain

there

The sound of applause

jubilantly

as 'indeed

and such sentences

Italian
in
do
I
an
can
what
that

auch a profound

himself

under

I should
opera'(3)!.

and unworldly

the world

the greatest

the greatest

with

runs

me to such a

stimulate

to my desk with

I rush
seated

prospects

rather

eagerness

delight'(2).

through

his

dearly

love

It

is

man should

than above it.

letters,
to show

paradoxical
have felt

-2-

Similarly
in his

Wagner wished to "show what he could do"

'When I attended the
days (up to Rienzi),

early

of the Grand Opera ... a pleasurable

performances
into
the desirep the
warmth would steal
my brain and kindle
dazzling

hope,
triumph

The great

there'(4)"

lightly

(of

won success

also#

high-priest

he frankly

this

servile;

surprisingly

I,

that

aye even the oortaintyt

Incidentals

could

started

off

'Such,

admits,

musio,

one day

1835) much

in order

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
fortified

that,

my views

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.
but not

was partly,

for

won praise
'Whether
realisation'

that

of musical

talent

be'that
to
Deems
composers

and must

he could speak, he
heard in the country.

between major

the former

a more or less
or ideal,
whereas

autonomy mixed with

actual

cLstdron

to the early
should be attributed
entirely
love and praise can'be won through a display
is another matter,
however'(7)"

One of the differences

audience,

of all

on the

hoer, before

a song held

singing

my career

To be patted

of whatever developments
Stravinsky
suggests that this motive
for his musical
entirely,
responsible

when he tells

creativeness

me to be too

considering
to. manage it'(6).

exhibit

and minor
a degree

of

dependence on an
the latter,
the minor
strong

these
two
in
have
of
qualities
one
undue proportion.
composers
for instance,
A glance at Spohr'c Autobiograpy,
will
reveal
the
burdensome
awareness
of
audience and very
and
a strong
little

else,

just

as Stockhausen's

of undue autonomy.

attitude

articles

Catering

for

exhibit
public

an
taste

is

in
bo.
days
oommonly
most
30on
pre-Beethoven
may
a sin
less successful
the Telemans, Kaisers eto. l -, while their
that

colleague

in Leipzig

sincerity

and profundity.

remains

a supeme

exception

of

-3As with
for

public

of his

opinion',

tenderest

are full

wife

moved',
they

balance

and indeed

'brilliant

of

to his

which according

points'(8),

undnding

also

Weber had an 'over-anxious

Kozert,

letters

again

of many other

show evidence

the scales.

yet

etc.,

applause

son 'was one

kingo

suooesi',

to hie

being

'deeply
Mozart

as with

powerful

from

-Weber suffered

regard

to

stimuli

the conflict

of

to
to
be
truthfully
himself
and
please
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

before

down and worship

is

Beethoven
the great

'I

Euryanthe)

have not

the spirit

espeoially,

Yet in 1796 he wrote

is winning me friends

'my art

do I want?

And this

in

to his

brother

and what more

make a good deal

later

of

in the deaf

youngest

and renown,

years

that,,

of the

of course,

I shall

time

Twenty-nine

money'(10).

to Mozart

he had an overweight

autonomous attitude,
period.

of the age'(9).

the opposite

composors,

to fall

attempted

he wrote

of

of Op. 124

'I

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

is

lofty

soorn

of the publio.

find

frequent

xaferenoes

which

In between these

not

illustrates

worshipped

Beethoven gras the first

as a leader

awareness

great
simply

that

oft

it

und contempt

and was even prepared

(12), as Chavez calls

in

for

praise.

that

fort

in his

to undergo
itg

musically

music
but also

to wish to be

was partly

he was absorbed

we

of his

the desire

audience-regard,

against)

If

only

stages

our point that autonomy

from (or sometimes

oommeroially{
be
seen as an evolution
should
reaction

'novelty'

to the

a virtue

this

being

Thus h8*: 3tarted a different

individualist
he became, with his

the defiant

he considers

the dwarfs

ridiculed,

fl

the all-highest'(11)!!!?
man from

only

order

he had a
(not
the public

leaders

his

period

eventually

"message")
of "quarantine"
to be all

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

are made too easy for

to time

throws

this,

element

a composer from

way, and even at its heads

terror,
and in the and

There is

this

yet

its

duokp fool

will
simultaneously
loudly
praise himt(13).
all

But if

in

a stone

all

abcut

it.

something

oaloulating

must be admitted

and

even oondoned# as wo admit basic selfishness.

The error
is the notion that since Beethoven
we are correcting
composers are less

aware of the effect

This

than previously.

others

of their

is untrue

music on

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

and would have been merely

period

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.
The only

exception

2.
Desire
The desire
desire

to pleasep

to imprezst

nature

('music

been expres3ed

...

by

must please, the hearer

.. o

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

pleasing!
giving

we oeok,

pleasures'(2)).
to
'mission'
please.
a
he
when
adopted
mission
European

works -

danger

of working

public

for

born

than the

ceaso to be musio'(l)

never

writing

Please

more philanthropic

has frequently

oomposors from Mozart

graph.

to

'It

Copland

felt

a simpler

something

style

after

of this
the 'difficult',

seemed to me that

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).

missionary

and constantly

pleaded

drives
away cultured
which
muaio
to
in
the
mood
solve
not always
(4). ' Likewise

Haydn saw his

art

people
intricate

against

difficult

'who simply

are

musical

problems'

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

-.

lots

their

always

can derive

a few momenta' rest

a powerful

motive

little

amateurs
neighbour
its

onwards ... '(5)

that
most fortunate
I can give

wherewith

And later

was
he.

Qod gave me these

to the

satisfaction

of happiness,

pursuit

of the days

Essas sur'le

Versuch

ubor die

Societe

civile

Reflexions

Bonheur,

Della

sulla

felicita,

Disoorso

felioit

as witness
our is

Sur la Vie Heurouse5

our 1e Bonheur,

essere

This

the more so because ... I can benefit

my
Haydn's age was oharaoterised
by
the poor'(6).

the title-pages
Bonheur,

affairs,

of music,

unprecedented

Epitre

with

and refreshment".

to press

esteem'iyself

talents

once be a source

will

or the man burdened

the care-worn,

'I

labours

your

perhaps

from which

wrote

5r

Kunst

Boaheuri

Systeme du vrai
Warta

folicitag

di

Die Oluokseligkeit,

frolioh

stets

some of

do la

Traits

zu sein,

tribuant

at du moyen de se rendre heureux on conLa

au bonheur dos personnee aveo qui on vit,

felioita

publioa,
Here,

Of National

without

falling

attitudes

further

'From my earliest

are more

oategory,
to serve

my seal

ohildhood

in any way whatsoever

humanity

poor suffering

Of Happiness.

introduotiona,

this

within

Felicity,

our

by means

of my art had made no oompromise with any lower motive;

(except)
the feeling
of inward happiness which always
such aotions'(Peethoven)(7).

attends

they

11 wanted ... to build dwellings

might feel at home and happy'(Grieg).
'The existenoe
is

probably

compositions
insufficiently
by
and

whioh help

resolution,
oonprehensible
0 ur great

of formalism

in several

explained

by a oertain

clear

by
our people
unwanted
Party
to
our
gratitude

that

recognition
I should

...
for

the olear

me to find

'to our'people,

like

it

oomplacenoy
is

totally

to express

deoisions

a musioal

worthy

of my

my

of the

languago

of our people

and of

oountry'(Prokofiev)(8).
'Only

froin, the fellow-longing

spring'the
can
skst;,,
of
manyq
.
higher

men in which

for

effortp

his

effort

force
directed

of others,
to feed
toward

his

and at
(oomposerts)

the Art-work

_6_'
iteelf"(Wagner)(9).
There are many remarks
aorta

'for

in operas

reoitativee

are typioal.

the following

of whioh

of the supply

roitatives

and demand

Mozart

writes

are now vory

popular'(1Q).
Of Prinoe
Beethoven

wrote

the composition

Nikolas

for

enthusiasm

'What an inoontive

in 1824,

quartets,

to promote

of such works'(11).
'The geieral'and

Haydn wrotes
.
of my Creation
I have dared

Galitzin'a

so"inspired

sixty-nine
my

to compose yet

another

undeserved

suooess
that

old soul

year

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
and lack

truth
beauty

in all
'I

letter
stand

of affectation
artistic

his

would be willing

of

to set

even a newapaper

or a

the publio
eto. 't to musio, but in the theatre
for anything
exoept boredom'(Verdi)(14).

intrin3io
gift,

natural
For

stage

principles

creationa'(13).

that Rossini

Wagner writes
small

are the solo

and, big

told

him 'that

value

of his

works was not

but

simply

to his

'an effective
ensembles

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

Honeggor can tell

in

this

I sit

what will

to

chargeable

a crowded

...

... a solo or
fortissimo
or
gives

typical

in these

please

the best
of

letters).

the audience

'When
obstacle
an unforeseen
stops me ...
ways
chair and say to myselfs
down in the listener's

"After
for

leffeots'

the

publio1(15).

in'opera

ending

will

having

which

at least

heard what goes before5

could

give

men if

the impression

not

what would I wish

the shiver

of suooess'..

of genius,

What, logically,

-7to happen to satisfy

ought
this

method,

public

is

my score

fairly

applied

me?"q ... Bit

oom; leted'(17).
it

gonercily,

by bit,
This

following

the action

epitomises

is

process
of

upon composer.

into

r,a sentence

by Carlos

person

true

their

Self-Delight)

the terms

'Dialogue

Chavez,

achievements
enjoying

the more fact

creative

art,

his

of his

the creative

abilities,

in accomplishing

that,

the

has ended in a sense of

pregnancy

- first

artist

are

whatever

own creative

and the dialogue

and self-satisfaction;

realisation

and Monologue

by himself

enjoying

are the fruit

quote

the monologue of a first

to him--elft

speaking

entitled
I shall

porspootive,

tho oontradiotion,

of

(and that

two ohnptera

To put these

of

- with this public

derived
the intense

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

For

--

Connoisseurs

or

When a composer desires

and therefore

Disoiples

to be more truly

be frequently

original,

of packsd halle

vision

interplay.

subtle

enjoying

has to abandon the

what he writes

half-way
to this
vision.
more intimate
famous passage where he writes
Mozart's
of his

$connoisseurs

alono',

other

lovers

#the less

without
'for
compositions

a small

that

of

and he
of music-

circle

written

bits

for

and professes

and signi-

Stravinsky's

has

to slip

in

the non-oonnoisseur(3).

There are odd examples

addressed

fail

cannot

whyl(1).

Conversely

opposite

is

come parts

a composer of our own ages ilindemithp

the exact

attitude

learned

knowing

and connoiescurs'(2).

fioantlyq

little

yet

for

the satisfaction

though

to be pleased,
kept

are for

concertos

piano

himself

to an elite,
Symponies

of compositions

suoh as Strauss's
of Wind Instruments

confessedly

Capriocio
(for

and
'those

-9..
and requests

'Mature

' ...
and the higher their
language.

straightforward
complexes,
is

to be spoken to in a brief

strongly

the number of units

with

like,

as the incurable

seekers

is

to write

This

for

Cage's

we naturally

than for

The almost

are'(11).

few,

but

the

oriental

the most advanced

philosophy

must first

an expression

of

be understood

to before

the music has 'any meaning.

of memory in music as using tantamount
(12) would be welcomed by us if
possession

assented

rejection

to a desire

matter

oomposere as John Cage is written

of the age.

or at least

on

but we also

the intelligent

school

music is

that

patterns;

a philosophical

musicians
which his

easiness#

and for

of new truths

music of such avant-garde

more for

reete

the now and the unknown,

fore

and need and strive

in

the greater
they are familiar'(10).

which

repetitional

oomfortableg

think

people

intelligenoe

And Chavez says 'We like quietude,

the ground of our passive leanings,
we like

and

for

we were Buddhist monks, and that is virtually

what we must
become before we can be the sort of audience he is aiming
(if
at,
audience is the word, for there can be no communication

in chance itself).
Undoubtedly
idea

overiding

behind
'ideal

of the

these

all

attitudes

audience'

varying

is

the

from

in
to
its nature and manifesting
itself
composer
composer
the emotionally
in auch ideas, an 'an intelligent
elite'
and receptive'
or simply
but it may be said that

sympathetic
'posterity';
that

audience

the composer mostly

and rather
it is, for
either

writes,

sadly
the ideal
consciously

or unoonsoiously.

In

Person

one,

Kind

for,
may be a single parson the oomposer writes
to imprees. (as Mozart wrote the 3erenae, for. vind
it

either

K. 375 'rather

(Bimsky-Korsakov
instance

especially

similarly
Mozart

to please

Sohumann(2),

with Balakirev

wrote

his

Herr von Straok(1),

to impress

works

or Brahms Wrote early

as for

to impress

carefully'

(3))

or to please

one symphony in D Major

father(4)

(it

was Leopold's

0'-1
favourite

key),

'my thoughts

or Chopin wrote

turn

it

is

to his

to you before

every

friend
actions

you I learned

because with

Tytus

Wojoieokowoki

I don't

know

to feel

but whenever
it
I write
kr.
to
I
like
'(5).
ow whether you
want
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
whether

I am only good at doing useless things,

the thought
beyond
'
them
oompare'(6).
price
a
of you given
though

Wagner, in his
for

turn,

found

during

his

especially
endeavours,
'Whenever I have news of you,

large
some
commence
Si

please

other

will

Liszt

quite

all

Wagner's

art

change him,

he must go his

it

for

of whom Wagner vrotes

'To these

ask them whether

love

it

his

with

of you,
dealing

how this
with

and the

you'(8).

on Wagner, not
of'

was no use trying

to

He was one of

composer desires

individuals

and

I must turn

and

to make

me ... sufficiently
to be rnysslf'(9).
Liter

for

to

I am

excitement

what every

me ...
enthusiasm and his

possible

'While

own supreme way.

the few who qualified

they

new desire

the music of my

the Dionysian
that

and realised

composition,

with

had an enormous effect

obviously

because he understood

only

only

I am always

you;

The Ring's

my nervee'(7).

I think

and scoring,

composing

work ...

target

a sympathetic

I am filled

artistic
through

vibrates

ried

Liszt

...
King Ludwig,
Wagner

money, was another;

of hims

wrote

'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
.
any of these

Without

that

man audienoesp
might have rapidly

state

called

oountt

to give

you it

gave me atrength'(11).

sterility

me strength.

I need someone on whom I can

When something

of mine pleased

Janacek was one of the few

his
life
most
of
worked
composers who
'corrections'
suggest
his pupils
would

in a vacuum, even
to him,

but he

last
in
1916
at
encouragement
when
and
came
persevered,
Jenufa,
he
to compose
of
started
with a performance
prolifically:

one-

'You`, know when I work how

to Vasnier

I am of myself.

doubtful

we have earlier

understanding

in.

set

Debussy wrote

enoouragingg

'You cannot

imagine

what pleasure

your

-11(praising
gave me

letter

in a fairy-tale.
urging

I feel

as if

I compose and compose an if

I no longer

me on.

I now feel

...

something

that

and I believe

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

I were living

in my vorkp

saw any worth

what I said

believed

scarcely

Jenufa),

were

and

my life

is

in my mission.

5i
The

the
muse is
of

The role
both

fluse

the stimulus

a more oomplex one.

of the work and the audience

She is

at which

As the stimulus,
she is closely
aligned with
womang ehe is seen as something far more wonderful

directed.
typal

other-worldly
the deepest

than

iss

she really

layers

it

is

aroheand

she has the power to awaken

of the unconscious

and shake the man with

inapiratioh.

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
though, ,nof for lack
x'ilh
his
who made
plain,

Sabatier,

of persuasion

part

sending

on Baudelaire's

her hymns

immortelle,
'A fange,
a l'idole
Salut on l'immortalite'.
The greater

Muses, like

by their

have been glimpsed

timeg

Petraroh's

and consequently

Laura

adorers

retained

their

and Dante's

Beatrice,

once in a life-

perhaps
ideality

untarnished.

to be detected
only
muses are generally
First
there is the type which
through composers' letters.
inspires
his emotions
the
the
of
oomposerp
she
music
performs
imagined vehicle
them, for instance
Haydn
the
becomes
of
and
In music,

Cenzinger,
Frau
von
and
his
Caroline
Weber and

Schumann and Clara, Brahma and Clara,

both of these latter
two
wife(2)9

in
the
imaginary
mind
composer's
with
critics
as
acted
or
'Der
Wagner
Sohr!!
disfavour,
deralso
favour
and
imagined
though

Devrient',
fired

Wagner with

of other's
was her singing
music that
('for
devotion
many a long year, down even
it

day (1851),

to the present
impulse
the
me when
Then there
and that

is

enough.

S saw, I heard,

to artistic

is

the less

production

active

For Gluok there

I felt

her near

seized

me'(3)).

muse who simply

is

was Madame de Vainest

-12wife

of a french

'Has she still

that

her in my mind's

success

Circassian

beautiful

head?

when I am working

eye,

inspired]

sufficiently

about whom he asked a friend

official

state

Tohaikovsky

Mme. von Hook are another

and the unseen

example.

life,

creative

metaphysical

as a young man), and his

celibacy

The only

generally.

spurious
idealisings

a possibly
istically

really

of women in

in general

but

of Beethoven's

the grain

to the

greatly

There in evidenoe of the influenoe

Beethoven's

see

and do not feel

she must contribute

of my operae'(4).

I often

this

outlook,

runs against
(he swore

of feminine

contempt

passage in his

relevant

emotion

letters

is

passage which is nevertheless

characterhe writes
to Josephines
'Ohs who can

name you - and not feel that however much he could speak
that
in
to
would never attain
about Z,
yon
only
musio'(5).
rou,
The 'you' must obviously
to something quite essential
refer
and Sohopenhauerean.
One naturally

thinks

of Chopin as

,&

muse-worshipper,

is part of the creed of romanticism

11
have
my
...
(woman),
ideal
though
own
which I have served faithfully,
to
half
I
dream,
for
thoughts of
a year; of which
silently,
that

the adagio

which

inspired

the little

3imi1arly

Estelle,

morning

became Berlios's
life;

Ophelia

Shakespeare's
later

marriage

to that

"Symphonie

Berlioz

hers

an ideal

married,

back over

archetypal

you'(6).

woman, but
not Harriet,

it

was
and in

the wreck of their

image which had once inspired

Fantastiquen.

Wagner and Mathilde

Chapter

this

first

was also

he would look

life

I am sending

waltz
his

and which

love,
and inaooesaible
unseen muse and remained with him all his

Smithson

Harriet

belongs,

of my concerto

27.

Suffice

testimony

it

we have already

to quote

to the idealization

these

lines

of their

disouseed

in

Wagner sent
relationship

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

I lay at thy feet.

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

they may give

That

Who has raised

6L
Desire

Shi

to

desire

The oompoeor'a

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
in more homely language,

'this

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
of sharing

our fellow

with

see come to light

something

gift

men that

joy

that

has taken

that

we fool

when we

form through

our

own aotion'(4)=
'Art

is

a means of communioating with peoples not

'(Mouasorgaky)(5).
Between this statement

in
itself
aim
an
3travinsky'a
and

above,
but

lies

a distinction.

the former

'share'

in nusioi

the letter

to share his ideas

distinction
artificial

the old

'the

logs

referential,
being'
and Night
communicate

their

to share music and

through music.
It is

etc.,

between the mori

and the

tempo and energy

of our spiritual
for instance.
To

the composer must employ a public,

of valuesi
and the harmonic series is

people,

scale
not private,
one possible
the coat 'public'
and intelligible
his
criticized

to

wishes

on a Bars Mountain,

with

Both with

as an order
contemporaries

themselves
making
not

in musioj

it

to everyone.
for

their

understood

is rational
In 1722 Rameau

'at
astonishment
(unlike
men of

-14because of the lack

time)

Zarlino's

of intelligible-making

Rea3on'(6).

Reason means law and orders

be conscious

law and orders

it

is

to assume that

safe

though

it

(composers)

'Whatever

tell

desire

a conscious

although

need not
you ...
for

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

for

when a composer tries

in terms

coherence

of a particular

audience'(Copland)(7).
took

Wagners as-usual,
he considered

this

all

First
much. further.
of profound brotherhood

music a matter

sharing

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
'I

of Lohengrin)

person
wrote
Third,

for

nothing

and when he felt

ten years,

he developed

himself

believing

the first

he had come to an end.

the loving

point,

laison

between public

demand and the composer's fulfilment

demand, to the extent that - 'the Folk (das Volk)
be the artist

necessity
ideal
point

of the futurs'(9),

which

think

and unrealistic
as one might
is borne in mind.

he

rejected

or their
must of
is not so

when the second

Desire

to

an awareness
partly

to please.

Verdi,

and capture

his

naturalness

that

the dangers

who exhibited

audienoeg

reacted

the same thing

concerning

the audience.

from,

aloofness,

against

a tsaotion

Audiono"

we may add a few remarks

As a postscript
of, yet

Ignore

of too great

is

a desire

desire

to please
the loss of

a great
against
created

This

in his

fellow

$the day will

longer,
talk
come
when
one
will
no
oomposerss
German
harmony
Italian
of
nor
or
of
or
schools
melod
of
future
then
dto.
eto.
stool
or
will
perhaps
g
past
g
of
nor
begin

the reign

of art

fruit
the
people. are
We

(the

...
of fear..

All

the works

of these

loo-one writes

Wagner, near the end of his

(the
Publio),
thinks
of
artist)

life,

with

young
abandon ...

wrote 'the lese

and devotes himself

-15depths
from
the
his
of
as
own soul
own
works
entirely
'for
Ideal
Public'
him'
him
for
there will
an
arise
t words
disillusion
tentative
testify
to
with
and
a sadness
which
hoped
All
this
he
his audience,
so
much.
really
of which
to his

'the

be calla
sheer

the Tamed
as 'the

defines
he
and

Coood in art'

The subjective

aim-to-please'(2).

Ideal

Public

is

In
The
have
composer
above.
seen
we
as
more recent audience
(is)
his musio'(3)
he
1unoertain
writing
for whom, exaotlyp
inexact
or simply
he
audience,
an
postulates
consequently
in
this
'I
know
other
himself
of
no
absolute
projects
the
than
(producer
power'
relationship)
consumer
and
matter
Tippett;
as I posseso$ writes
into our mean world music which
knowing where
To project
without

energies

of euch creative
'my passion is to project
is rich
or into

and generous'(4).
what he projects

is not

to be out off
the desire to be cut

the desire

from the audiences but, as always,

but
ideal
the
from
all
audience.
off
SL

Didapti ia..., Aim

$ ral-_'Art

and make3 actual

partioularisea
Because it partioularises
states.

emotional

fluent

...
and because

humaine.
la
to
condition
meaning
gives
makes actual
I would
has purpose.
If it gives meaning it necessarily
latter
This
it
has
that
moral
purpose'(l)"
add
even
it

it

opinion

has always

and over since;

I
think,
never,

Notart

been held,

from Plato

to Shakespeare

it has been questioned,

recently
by any great composers.

thought-'Wit

ao enlightening

though

one another(2)

'tae
in
the
heart
heightening
emotions
sacred
ilaydn
as
and
to put him in a frame of mind where
listener,
and
the
of
kindness
the
0mnipotenoe
to
and
is
of
susceptible
he
most
the Creator'(3)t
few years later

both

referring

the romantics

to religious
banish

A
music.
between
any division

is
in
longer
religion
art,
no
only
sacred
and
secular
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
black
his
Elgar
Until
old
of
ago
was full
in general.
moral

seal

in his

work,

and the thoughts

that

the violin

-16.
was 'human and`right'(5),

concerto

in

philosophy
'great

'The Apostles'
(love)

charity

that

the optimistic

may do some good'(6),

that

and a massive hope in the future'(7)

in the First
Symphony, must have

was clearly'expressed

him on time and again.

spurred

Wagner would have agreed with Haydn in m far as

listener
into a frame of mind
the
he said musio must'put
to
divinity.
is
It is almost
he
susoeptible.
most
where
$a
Pousseur
isp
if
said,
pertain
manner of existing'
as
music
as
(of ' p"S't Pt. Z) man enters into a different-plane
of time, of
is
there
of
oonsoiousnessp
an entry into'the'lower
values and
of the mind not normally

levels

'possession'

greater

the

Writing

'The Ring'

(listeners')

of the musio,

Wagner had this

powers refreshed

by the egos the

occupied

the level.

the deeper

in minds

and readily

'with

his

all

the

responsive,

sound of the unseen orchestra

will
attune him
to that devotional
feeling
without'whioh
no genuine artimpression,, is so muoh as possible'..
he
now revel
will
*
first

mystio

in

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).

As suoho music is a moral

refreshiment',
teaching

teaoh sphere

filling
r

redemption

force,

- starved

of Nature

of spiritual
new life,

with

Mankind a second speech in

can voice-, itself

the Infinite

source

definition'
clearest
which
Is 'manifesto
(9).
this, is,
to
counterpart
modern
.A
lTippett
I
in
I can create a world of
the
'Ifs
theme music
write,
l"astl,.
find
my
generation
of
at
can
where'someq
sound
for
refreshOAV,

the inner

properly'(10)..,

He feels

and, endeavours-to

give

it

ecstatically
fin
oppressed
an
robotism
by petty

a little

thirst,

as did

assuagement.

indeterminism
creative

my work
Wagner,
Likewise

as liberation

universe

from

weighed

down

abuses of power'(11).

Hindemith divides

man's approaoh to musio into

two

be
combined and balanced against
whioh should

attitudes
other.

then I am doing

mankind's

hails

Boules

life,

with

1.

That deriving

has to be converted

into

from St.
moral

Augustine

power.

wherein

We receive

its

each

'music
sounds

-17and forms

but
'

they remain

them in our own mental

to turn

quality

goals

toiarda

our souls

fermenting
noble,

everything

is akin

This

we inolude

unless

and use their

aotivity

humant aad ideal'(12).

attitude,

meaningless

super-

to the Apollonian

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

are the

grasp,

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

'fermenting

the unoonsoious
of heightened existenoe.

and musio as an experienoe

the Boethian

spirituality

Respighi

heads bis

quam omnium ordinem

to know,

messenger is
defines
teach

'Musioa

one must be taught,

that

only

in order

prefatory
Author)

Is not
to

'Sonnata's

has faithfully

the seriousness

Chavez
to

into

the
defines

Schoenberg

a message to

'something

which

fills

more widely than one might

'To the Reader'
Letter
of III

time now, should

just

Parts'

endeavoured
Masters;

a just

The

imitation

of

to bring
of Musick

sort

among our Countrymen,

begin

this?

prinoipallyt

of that

and gravity

vogue and reputation

balladry

far

Puroell's

the most famed Italian

-'tis

or

he
of mankind'(16)?
and culture
The didactic
the criterion.
attitude

by implication

expect.

'shed light

to deliver

mankind'(17);
knowledge
in
the
gap

exists

in

were not known before'(15);

has he produced

asks

set

the aims but

and teacher

of the human hsart'(16).

is

aliud

assumed by many composers.

things

him as 'living

that

nihil

composer as 'one who has many things

a great

depths

us

this

with

That is

and Schumann, as one who should

very

let

above,

book 'Orpheus'

soire'(14).

the role

others#

attitudes

ones.

from Trismegistus

quotation

order

Boethian

to Augustinian

now turn

The

and experienoe.

instanced

Having

levels,

and knowledge,

oommends understanding

attitude

on musio's

stress

into

entering

quality'

Augustinian

and lays

attitude

to loathe

into

whose humor,

the levity,

and

of our neighbours'.
The 'aim

to
raise
.. *

(one of Beethoven's)(19)

is

the taste

of

the publio'

a more generalised

didaotic

-l..
one, but

to. ignore

blindness,

the moral

as Wagner is

aspeot

also

is

present

to make clear.

at pains

'Could

taste remain without

an effeminate
and frivolous
influence
Both go hand in hand and
on a man's morality?
act
to

reciprocally
'active

lordly

Beethoven

and energetic'

Reoentlyp

involving

dust

Dellini

and

and Donizetti

oomposere have oalled

too,

'rich

and the

who are Rossini,

do-nothings'

(2Q.

' he goes on to refer

upon each other;

for

qualities

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

not

of acoustical

subjects

- are added also

reaching

research

ever

more-far-

problems, this
(not
of conscience
only

our spiritual

the sign of a renewal

in the individual'(21).
musical)
being

2.Desire

Move

to

Audience

The aim of moving an audience

been voiced
title.
rooooo

or at any rate

the use of a strongly

The aim was prevalent

musio not

throughout

and Gluok wrote

opera,
only

music has

when the music involved

more often

of words,

through

as the art

the use
suggestive

Baroque and

in 1777 'As I regarded

the ear but

of entertaining

means of moving and exciting

as one of the greatest
I turned my attention
to the stage, I
the senses ...
'(i)
just
not
sought deep and strong expression
...
heart
Berlioz
but
music
music.
gave this
entertainment
definition
of music, 'the art of moving intelligent
men,
also

gifted

with

of tones'(2),
primitive

special

,r
and praotised

back to the idea

and Wagnerp going

himself

man expressing

by combinations

organs,
to his

fellow

of

through

(vocal
in
finds
instrumusic
musiog
and
sounds
vocal
it
imitation
is
far
in
as
an
so
of vocal)
a
mental
'Tons
feeling.
in
to
the immediate
direct
appeal
utterance

of feeling

whence start

and has its

and whither

flow

Through

the sense of hearing,

feeling

heart
one
of

That ie

the important

the waves of life-blood.

tone urges

to the feeling
thing,

the heart,

seat within

of its

the uplifting

forth

from the

fellow'(3).
emotion

-19by the audience

experienced
frequently

at the time;

beware of sober

reiterates,

he

and one must,

which later

reason

the audience must not be made to

Therefore
picks holes.
'why';
'reflect'
to
to
nothing must be I[t
ask
or made
the imagination,

lesser

'the

true

from

imagination

It

is

Artwork

the imagination,
be engendered by an advance

art

addreaoea

can only
into

i. e. Sinnliohkeit'(4).

aotualityl

such as l4allarme'

extraordinary-that

worshippers

have found

should

of understatement

and other
a strong

this
in
Wagner
we
oonsider
partioular
when
appeal
in
have
but
they
oommon
understatement
symbolism

aspeot;
was

to Wagner.

foreign

This rather

extreme

Dionysian

approaoh

Wagner brings

teaoherly

attitude

mentioned

this

oommunioation-through-feeling

ment

of

our
of

powers

(of,

above

p.

with

the

16)9

dubbing

Is. desirable

in his

enrioh-

and therewith

assay on Mahler

Ia work of art

than when it

of

our

listener

no greater

which

and'Hindemith

cannot

avoid

the

expressed

raged

in such a way that

rage and storm in him'(6),

'the

can produce

the 'emotions,

transmits

to the listener

coolly,

line

emotion'(5).

that

creator

into

impressions,

emotional

Sohoenberg
opinion

of the emotional

statement

effect

in the

they also
says rather

having

emotional

reactions,

the mueioien

them'(7).

He goes on to show the composer calculating

his

certain

confirmed,
To hold
but

to be in the same mental

himself

believes

such an opinion

the Doethian

Beethoven's

women'(9)),
recommending

that

only

Writing
observations
reabtion

he

situation'(8).

to be over-aesthetic
for

opinion that one should not

by muaio ('only suitable for

alleged

stirred

be emotionally

is not

certain

case to be self-oontradictory,
element.

in Hindemith's

omits

his

the listener's

in antioipatig

with

part.

and finding

frequently

patterns

that

correspond

on the listener's

reactions

emotional
these

of tone-setting

patterns

to neglect

the knows by experience

effects

emotional

must not attempt

mueio should

a different

type

fire

one's

of emotion.

mind,

is

only

When one's

it

-20. mind is

fired

both moved and actively

understanding
intellectual
in an
and new syntheses,
pleasure

patterns

oneis

feeling

Wagner emphasised

emotion.
one is

preoccupied

plane,

thanks

musical

to the words

prowess

of a Beethoven

or between their..

arbitrarily,

but

spotlighting

of the Understanding,

in terms

different

between the

both

awningsp

the mind is# perhaps

predominantly.

in, two ways,

she word understanding

(the
the argument 'if

Wagner uses

works
intangible

symphony and a Wagner

by one aspect

distracted

their

of kind

spiritual

intellect
+tnd

feeling

in his

lese

despite

yet

is no difference

music-drama
involve

meaning on a far

with

there

attitudes

because

be answered

Artist)
is

then it

thus

as good as

he
has
Hans Keller's
not been understood'(10).
said
music is emotional
aphorism 'Intellectual
music we don't
sums up the emotion/understanding
yet understand'
that

neatly

relationship

and no more need be said.

ESSENCE

OF

THE

WORLD

10.

Introduction

In this
view

music depicts

that

Audience'

will

Dionysian

unity

is

in

lost

with

his

of the world
but with

its

of the world;

the

as we consider

the individual

of essences;

the composer mingles

the universale

fellows

the creative

'The Composer and his

become apparent

affinity

mystic

the essence

the heading

with

relationship

discuss

we will

section

all

oreationg

and consequently

his

not

he feels

compositions

only

a
are

to a. brotherhood,
invitations
to a level
is
This
is
unified.
all
not yet erplioitlyv
where
of mind
in
though
it
is
many
philosophies
quickly
metaphysical,
but in the present
developed into the metaphyaioalt
like

invitations

section

the strictly

metaphysical

will

play

little

part,

be psyohologicalt
essences existing
the
in the mind and the mind in the worlds leaving
'Ideal
the
to
World.
next
part,
metaphysical
the emphasis will

Wagner must act

an guide

herep

as in his

writings

-21thin
is

is

attitude

most profoundly

the Core of his

been called

Dionysian

are abnormal

of all

oases icoks

for

outward

the wants of the will

satisfying

music.

iss

the brain

which

of life,

of
in

receives

such vivid
from outside
that for

originally

the purpose

development

case of an abnormal
impressions
striking

he bale

in which' the ordinary

natures

that
measure of the organ of perception
is exceeded ... This organ of perception,
and in normal

it

statedi

and beoause of it

philosophy

the most extreme

'There

and clearly

the

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
itself

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

is

contemplation

forgetfulness

permanent
is

that

developed

in powerful

of the original

to a sympathy with

sakes and no longer

in connection

interist'(1).

This

was Schopenhauer's

superabundance

of will

to

'grasp

manifestment,
musician

as it

with

for

wille
their
own

any personal
'genius'
with
his

men through

and enabling

the Essence-of-things

personal

things

external

in its

to a

natures

a,
art

most immediate

were to read

had himself

beheld

the vision
which the
in deepest (metaphorical)

sleep'(2).
The nature
in the course
oription

'essence'

of

of these

at this

stage

must be allowed

quotations,

to emerge

any definitive

des-

is bound to be incomplete

and so

to mislead.
ll.

Music

The

Esseme

Or

Things

The oompoeer must have two abilities;

to,
be
peroeive
able
must
able

to impart

his

he

ea$enoes and aeoond he must be

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

poetic gift
the
image
inner
phenomena presented
an

natural

first

to his

senses

2w

rr2

his

from outside=

'Not

outwarda'(1).
he thirsts

thou

inexhaustible

fount

a common image of spiritual

is

linked

in many literatures

or
is

it

refreshmentp

as the

grail

perfection.

of spiritual

source

of man ...
artists
as well

and the well

the holy

with

it

for

treasure

9ohubart,

writers

is what

fount

from uhioh

well-spring

image

men thirst

other

thou greatest

drinkl'(3)

as savants

true

and knows that

for'(2)

this

of projecting

but life's

life,

S0 imagination!

too.

that

art i,

the second ability

as the art
the unconscious
image of an object

Rousseau describes
of

for

'substituting

of the movements which its

heart of the beholder'(4)
which
that

presence
is

arouses

the nearest

in the

any

composer came to a theory of essences the heart'

rather
of course suggesting
though 'image of an
than visionary
reaction,

eighteenth-century
'movements .. * in
a passionate

only

that

suggests

object'

the subjective

not

extends

reaction

to beautiful

women but to the entire

world where
'movements'.
is in visionary
perception

essential

Pastoral
We must remember here Beethoven's
than tone-painting'(5)
Symphony - 'more feeling
and this

this

aspect
it

Symphonyt
inspired

voices

of lofty

of creation

Schumann, although
objects,

universal
inspired
itself
feels

brotherhood
there
where

heart

but the dark

songs above us ...

with him'(6).
stirred

it

the manifold
Kusio,

for

speaks of the essence of many things,

yet 'speaks the moat
situations
through

that

which

indefinite

in a freep

finds

the soul

manner,

and yet

and by this he means the bloodlevel

the
of essenosa,
at
souls
men's
of
between all.
is perfect
understanding
music for

praises

subrational

pure flames

of joy#

cry

day that

spring

at home'()

Liszt
on this

his

relationshipa,
of languages,

itself

short

was not a single,

him to utter

oomminglinge

comments on the Pastoral'

in his

of Beethoven

sympathy for

of his

the depth

Sohumannt one can tell

for

perception

example of essential

was a classic

level

of emotion

to heart

without

goes on to describe

that

'(its)
beat

the aid

essential

its

ability

to communicate

supremacy lies
one against

of reflection'
feeling

in

another
and he

by means of

the
from

-23analogy

'just

having

as the God of the Chriatians,

does feeling,
liberate
brief

and radiantly

actually

'the

from

us ...

fegel's

Only in music
...
brushing

demon Thought',

'The special

that

view

and

present,

and of Rousseau's

of this

signs

yoke from our furrowed

moments his

Thinking

remark

away

brows'(8).

we may quote

tank

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

in presenting
in

to them ...

now shows Himself

miraolest

for

to the chosen through

Himself

revealed

after

any content
the way in which it becomes alive

in the sphere

.. e

of

subjective_inwardness'(9).
An eaaenoe in
Berlios

thus a deeply
musio 'passionate

his

calls

the most inward

to reproduoe

strives

by whioh

expression'

'an expression

this

he means ezaotly

impression;

emotional
that

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,
subjeotj

eto.
'The Musician

Wagner alsot
the incidents

lies

within

to which

aooidentals,

it

to its

the pure will

Busoni

Likewise

held

In his
Schoenberg

a voioe'(ll),

opera

should

content

music
would say.

create

a oonoen-

'pretence

ttated,

essential,
that
consciously

whatever

of emotional

as Schopenhauer

that

its

upheaves

and sublimates

quintessence

away from

quite

entirely

can Music give

alone

expressing

life,

of ordinary

and its

details

looks

which

essay

world ... presenting

is not to be found in real

'The relationship

Sohopenhauer

quotes

life'(12).

to the text'

with

approval

'The

inmost
the
the
essence
of
world and
reveals
composer
in
language
the
wisdom
a
profound
most
which
utters
reason

does not understand'(13)

he defends

eto.;

the

music
and varns against adding
non-referential
of
purity
Aa..a quite different
'programmes'
on these grounds.
type

probably

of composer,

Wagner1 wrote

'it

is

ignorant

these

great

of Schopenhauer
patterns

is
to
us
understand
what
enable
which .. *
life'(14).
The
is
essence
of
appearances
more real

than1

the appearance,

it

is

and

in sound ...
beyond the
superior

the world

toi
more

-24truly

peroeived.

To take this

$art

yet

unrevealed

put

into

into

The discovery

until

these

crystallises

tho, diaoovory

in their

simultaneous

In other

musio.

as in Nietzsche's

of Music'

of

words,

with

an asuenoe

but vague and o&nnot really

be recogin a concrete fora such as music.
The

is

it

is

rather

the crystallization
is something strong

...

is not made and then subsequently

truth

musio,

believe

is

feolingo'(15)(8travinaky).

oom; oser'a

Spirit

is to get bank to

further

dieoovery,
a
of reality'
t*. now beyond what can bo called the

the attitude
that
'something entirely

nised

a little

famous book,

and thus

reality,

helps

feelings

vague essential

birth

gives

is what
us to

to the

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).
'tragic'

Wagner found
the essences
Siegfried

that

'Curiously

the real

that

Everywhere.

to me.

hidden

previously

is

formulated

enough,

essence

I discover

orystallised
in his

is

it

only

during

of-my poem is revealed

secrets

had been

which

from me# and everything

in consequence

more impulsivel(16).

grows more passionate,

It

of music finally
vaguely

were only

libretto

composition

the spirit

is referred

an essenao xhiah

to in Auch
'The musioal

Craft
Stravinsky
thisz
as
asks
statements
idea, when do you reoognioe it as an idea? # to whioh he
is catisfiod
'When
in
by
something
my
nature
roplies
The
is
of
an
auditive
essence
ahapel(17).
some aspect
too vague to be recognised
to
which certain
nature)
my

in
as more than-a 'something
sounds mysteriously
correspond.
12,

Art

This
that

it

is

mootion
life

level,

Fefleotion

diffore

as auch that
rather

essential
Wagner may be permitted

from
is

of

Life

the ones on stimuli

discussed#

in

on a deep,

than speoifio
aspects
to set the tone with

of life,
this striking

-25(the

Images 'The dramatia.

M1Aotion
the bough from the Tree of Life

is

...
from by an unocnaoious
fruit

the stems is planted

which

resembles

truth

the parent

to grow into
in its

fully
tree

Arti

of

inner,

and shed its

from

in new# more

there

the spreading

tree

force

and

necessary

life

of actual

there-

sprung

ands now dissevered

in the soil
life,

eternal

whioh,

has bloasomed

lavst

to vital

obediently

beautiful,

instinotj

of the future)

muaio-drama

its

..,

objectification'

(1)*

is

'Art
life'(2),

to the selfsame

subject

wrote

Strauss;

this

laws as ever-changing

has been taken

quite

literally

for new laws to replace

by some modern composers# looking
the old; for example , Resaaien, who takes the rhythm of
the form of the snow-! lake and the structure
To some it is a
as his lax-givers'(3).

the seasons,
of bird-song

of patterns

reflection

of Nature,

in to bear witness

calling

to the oivilisation
to all

and of a people'(Strauss)(4),
Life

as it

fashions

it

is

natural
of an age

a reflection

of

to man, a mixture

appears

forms

and unchanging

music demonstrates
of his

'its

to others

of changing needs and

'The art of
and patterns.

man's ability

to transmute

the sub-

into

a body of sound ...

Thus the greatest
may be
momants. of the human spirit
(Copland)(5).
in
deduced from the greatest
musio!
moments
stance

everyday

experience

him he cannot
to Wagner that unlike
writes
inspired
by nature and real life:
it is too
01
feel.
I
but
describe
the
only
can
-

Berlioz
be directly

all-absorbing
her
from
reflection
moon
Rossini

Similarly
'all

level,

at the bottom

cannot

(must be)

oompose'on

ideal

of a'well'(6).

the materialistic

and expressive,

never

thinkers
have it'(7).
materialistic
by and reflected
Busopi defined music as 'Nature mirrored
it
is
for
breast;
human
the
sounding air and floats
from
himself
the
Man
beyond
air;
within
as universally
above and
(8).
in
Creation
Music
is
human'`
as
entire!
and absolutely
imitative

as certain

ised,

or idealised,

Nature

and therefore

the essence

Nature.

There are also

others
imitative

those

(like

old and new) who rofleot

way, it

Mes3aien,
life

has not been sifted

and many

in a more direotly
though

the ideal

of

-26('to

imitate

is

the ... 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.
The electronic
theories
category
p. 38 Pt. I).
of
Pousseur
life

a new aspect.

because
its

the subject
Pousseur decries

'the

of the reflection
the ideal world,

give

and others

life

to everyday

return

nostalgia

an acute

wake regrets,

...
for

can only

of

leave

in

the vanishedr

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
the riches

which raises

Art

consciousness.
Many of these

to the level

of nature

is no lcnger

out off

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

writers

of life

situated

laws which

to-the

forms

on a higher
it

govern

he imagines.

Art

than existence,

plane

is a new
but the

are not new laws'(12).

21"

Communion
The 'healthy

With

Race

desire

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
ideal
the
not

music.
world,

Nationalistic

music aims to express

the metaphysical

psychic

area,
common to all

psychic area which is

the purely-human
strong racial
sympathies
humans, but the equally
of family

sympathies

to one's

nor

which
fellow-

are an extension
the artistic
one
will
share
whom
with
countrymen
beyond
to
the
the
them
music,
and
past of
communion of
its
its
dead#
traditions
its
culture
and
the country,
itself.
the
earth
very
and to
Polich
box
of
little
silver

Chopin always
earth

with

carried

him and in

the

Polish
in
his
he
national
exile
music
valued
same way
from
'I
longed
it;
have
to
refreshment
tried
gain
and
to feel

our national

music,

and to some extent

have

-27in feeling

succeeded
its

with
yet

of being,

unity

it

more probably

himself

it'(2).

a desire

was atavism,

to identify

to commingle with

Polishneasq

with

Perhaps happy childhood

lured his longings
towards Poland,
Polish

blood

and earth.
many of the great

Similarly

nationalist

composers

in
'character'
the
themselves
immerse
to
of folk
sought
(as
that
Bartok
to
the
recommends) the
extent
music
all about it and use it as
composer 'is able to forget
In other,
his musical mothsr-tongue'(3).
more Jungian
the old mother-earth

words,

until

reactivated

is

archetype

contemplated

the oonsoious

she can carry

and

mind

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

folk-tunes
like

special

Czeok folk-music

Tohaikovsky
intent,

Cssoh musician
purposed

yet

who only

his

used

music sounded

in idiom(4).

used Russian

tunes

with and without

in any case he was 'drenohed from

he said,

popular

songs'.

beauty of Russian
the wonderful
'I am therefore
He oontinues#
passionately

devoted

to every

expression

earliest

childhood

with

I am a Russian

brief,

Rimsky-Korsakov

of the Russian

through

used folk-tunes

In

spirit.

and through'(5).
quite

often,

and as an

in
example we may take a single work, Snyegooroohka,
drew
heavily
from his own Collection.
He wrote
he
which
'in
to
frame
this
obedience
work
my
pantheistic
of
of
hearkened
to
folk-creation
I
had
the
of
voices
and
mind
(viae
bird-calls),
and what they had sung and
nature
of
I made the basis

suggested
towards
warmth

ancient

of my creative

Russian

'My

art'(6).

custom and pagan pantheism,

itself
by
little
little,
biased
had
now
manifested
which
Immediately
flame.
in a bright
on reading it
forth
began to come into

there

began to glimmer

passageel

and there

at first,

but more and more clearly

tints

clang
subject.
with

...

my pantheistic

before
later,

to the various

corresponding
everything

themes,

my mind motives)

me fleetingly
the words and

moments of the

was somehow in peculiar

frame

of mind'(7).

chord-

harmony

And he goes one

48in a pa3aa e already

'Absorption',

quoted under

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
(or
in
found
this
atavism
atheist
professed
soul, and
hoer ovary

stump of wood appeared

symbols as Laski

unitive
gave bis

art

simplest

form,

art

if

the religion

informs

which
man is

equal

in divinity,

at least
individuality

not

Pantheism

and mystery.

excitement

because in pantheism

matter#

them) the depths

would call

all

is,

which
in its

nationalistic

to and united with

in wonder and magic.

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

has plunged

the artistic

bare feeling
Writing

from my inmost
it

into

its

inner.

mould of Myth'(9),
has been clothed

Tannhduser

he said

heart

...
soulg

in other

and given
words the

in the 'garments, of a story.

'already

I lived

now soon to be entered,

the longed-for,

the eye of

in

entirely

of lome'(10).

world
R

However,

when he got back,

from Germany was far too ideal for

whatever be expected
'This Some#
real lifer

qy longingl
could nowise satisfy
lay behind my impulse,
that a deeper instinct
thus I felt
its
have
in
that
must
source
needs
some other
one
and
for
homeland.
the
than
As though
modern
merely
yearning
in its

actual

reality,

its
I sank myself in the primal
to
down
root,
to get
that
in
legends
the
Home
us
meets
of a past
element of
which attracts
hostile
its
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

It
of Baoh or Beethoven.
(in the Wagnerian sense)

than a study

the desired

naturalness

'Integration

and love

...

epitomises
of musio.

are the two key words'(12)

here we have the natural

of the mother-language
absorption
'One
day
implies.
it
brotherhood
the
perhaps we shall
and
be neither
find an ideal mueio xhioh will
popular nor
classical,

This

can take part'(13).

like

sentiment,

in which

all

Wagner's

be
the
future',
the
of
artist
of
necessity
must
in which our deep-down
the hope for a brotherhood
differences
are emphasised and surface-level

'Das Volk
expresses
similarities

as Ortega

But society,

forgotten.
always

but an art

or lowbrow,

highbrow

and the vulgar,

In this
earth.

childhood

is

discussed

h.+vs already

into

the only

sense the artist's

of brotherhood

; zopagation

itself

divide

and obstinately

is

has said,

y Basset

will

the illustrious
on this

exception

and idealistic

generous

a childlike

and we

aotiong

has to do with

what regression

ezperienoe.

aeatbetic

The continuing
a man, its

inherited

magically

in this

to by Bloch

testified

Hebrew spirit

which

restless,

the freshness

I feel

in beautifully

presence

$It

passager

the Hebrews for

Eooleeiasteap

justice,

this is what I try

holy
the
my musics
our soul'(14).
lack
a certain

the'despair

the sorrow and grandeur

of the Song of Songs.

the sensuality
this
resides
all
use

in men is
to feel
fervour

...

ardent,
the Bible,
the
love

the fierce

of

in the book of
of the book of Job,
in
All this resides

the best

part

or me.

Ana

me and to translate
of my race which is latent

within

and individuality

into
in

in observing

further

And Debussy went still

of freedom

the

of the Patriaohs,

of the books of the Prophets,

violence

is

through

pulsating

and ingenuousness

for

culture

met the complex,

interests

which

spirit

of a past

significance

in himself,

$our
just
machine
souls
vast
a
of
he
part
if
were
as
from
who
seem
unknown
people
of
mass
a
inherited
are
influence
on
our
actions'
a
strange
to
exercise
from afar
(15);

Wagner reoo=onds

and nerve

waters,

of historic
pristine

'We shall

not win hope

we bend our ear to the heart-beat

and oatoh

history,
living

until

this

the sound of that

buried
however
which

civilisation,
freshness'(16).

yet

pulses

of
vein

sempiternal
under

of

the waste-heap

on in all

its

-30The nationalistic
a sudden desire

was not
only

half

that

tonality

new discovery

both

to become stale

for

musically,

as a structural

psychologically,
as this territory
(as
Grieg often enthusias-'
unexploited'

tically

repeated)

depth

of mind vent
with

Dionysian
and what its

by a cursory

of Soottish

Why this

connotations.
profound

from the classical

differences

With the
of mind.
on a deep instinctive

the. communication

its

all

a new depth

element,

movement was nevi

grasped

to be explored;

and also

was a 'hitherto

level,

territory

was a new psychic

was beginning

foundations

That was really

of the new composerthe realisation

that here

came after

was the exciting

out,

The attraction

relationship

in folk-music

brotherhood.

for

the picture.,

audience

now dying

movements only

psychological
be perfectly

era were will

at Beethovents

glance

harmonisation

folk-songs.

it.

Commingling
ing

With

From the brotherhood

to the brotherhood
of the soul

of radial

of human instinote.
Performances

...

for us what the rites

Word
instinots.

and festivals
into

we move
is

-'Music

of a great

initiation
an
-

the ancients

The

musical

a cry
work are

were for

of religion
the mysteries

of the

Note the sense of religious

human soul'(Delius)(1)..

awe

depths
the
surrounds
of the psyche and their
which
,
'The
)tatter
of what the Word-Tone poet has
uncovering.
to utter9l
wrote
(Reinmensohliohe),
(2).

Although

Wagner brought
figure

'i

Wagner,

this
it

of Siegfried,

freed

from every
is

matter
to its

the Purely-human

the content

conscious

'the

real

of convention'

shackle

of all

representation

his

musiog

in the

naked Man, in whom I might

his
throbbing
each stir
of
pulses,
spy each
in
freest
unoramped,
motions
mighty muscles

within

his

the type

In
human`being'(3).
other words the epitome
true
'
the
in
have
humans
common,
natural
and without
all
what

of
of

or uperfluity.

distortion

Wagner considers
projections
God could

his

of human nature
burn with

a love

many mythical
gods profound
'Who had taught men that a

toward

an earthly

Woman? For

_31_
Man himself

certain

only

of his

yearning

want,

who, however high

...

the object
of his earthly

may soar above the limits

it
with the imprint
stamp

can only

human

of his

naturel(4).
The profundity
like

profundity

whioht

everything

in unity;

of the heart

is his

the Jungian

sea-bed,

is

it

subjeotp

connects
job

the orchestra's

to portray
the loam (Boden)

iss

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

this

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
immobile

ground

he aligns

self-abnegation,

indivisible

This
Mahler's

music about

it.

symphonically

know that

in words,

up any experience

with

feeling.

universal

Faelin g As to be found

'I

aesthetio:

himself

so long

in

as I can sum

I can certainly

not

create

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
the whole

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

allied

The Dionysian
reaches
in music

its
'the

which

with

peak in Wagner's

all-time

feels

will

for

of individuality{
through

brotherhood

creation

Beethoven

Essays

one forthwith,

Hearing

the world

all

thrusts

above all bounds

has opened it the gate
home to its

it

to the

itself
the almighty
Will
the
perceives
will
world .. e
has
it
to
to
things:
not
mutely
yield
place
of all
(like
the
Apollonian
but
plastic
arts),
contemplation
World
Idea.
itself
one
as
conscious
aloud
proclaims
state
chiefly

surpasses
through

his,
its

the
Saint's,
permanence and imperturbabilityl

whereas the clairvoyant

and one alone,

ecstasy

of the musician

and

has to

-32alternate

with

a perpetually

recurrent

of individual

state

which we must account the more distressful

him above all bounds
has his inspiration
carried

oonsoiousneae,
the higher

of individuality'(8).

brotherhood

oonplete

There is

only

the world's

of

the bounds of
both

One and

one other

composer who wrote

'I will
Soriabins
to live.

terms,

Dionysian

experience

'beyond

the world,

with

knows itself

time and spaoeg it

All' (9).

extreme
love life.

has a temporary

then,

The will,

I am God.

I am nothing.

in
I

I wish to be everything.

to me - time# space
I have engendered that which is opposite
I
to mop
myself am that which is opposite
number.
and
because I am only that which I engender
I
be
to
will
...
God....
The world,
I am the search for God, because I am
that

only

(This

I seek'(10).

which

of Sohopenhauer's

apostate

$Wir sind
(Hlderlin).

nichts;

is music's

follower,

equivalent

Nietzsche).

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
is

self-knowledge

since

in order

to know myself,

a never-ending

searoht each new

*Who am I? "
to the question

work is only a part-answer

it
the
to
to
brings
other
with
on
need
go
and
different

is

what,

satisfaction

reason,

self

at heart,

with

individuality

narrow

Jungle

like

in composition,

satisfied

words,

larger

the deep,

whole world,
it

and

part-anevers'(Copland)(12).
In other

but

and

is

which
sea-bed,

we are.

in contact

We find
process

or dissatisfaotionc

just

so in life

something

for

with

in life

its

as

of experiencing
as a composer is

no completely
harmonises

with

definable
our souls

and causes us satisfaction.

Beethoven

the

is what we seek for

by the simple

a discovery

is nothing,

was more an Apollonian

by nature,

-33but he will

to illustrate

serve

as his

opposite

his

maturity

noticed

his

coarseness

well

Everyone

type.

as

him in

who visited

in his

two elements

just

principle

character

and abruptness and his transcendental

He projected
famous 'Blick
nach oben'.

idealism,

his

them into

the world

'dwarfs'

this

in the forms

of the vulgar,

round him in Vienna

he saw all

coarse

and the ideal,

fore yet
and writes
people he postulates
'Believe
in
to
actuality.
as when I
most
never seems
is
that
that
aim
my art should be welcomed
supreme
my
say
good and noble

by the noblest
into

too rudely

the earthly

mysticism

became lese

the brotherhood

real,

became more and more a larger

became increasingly

himself,

'sohner

the

individuality
human being

exigencies#

towards

the perfection

left

G tterfunken'

became increasingly

from its

for

What he

or rather,

consciously

His narrow
within.
irksome to him, for no

can detach

and Beethoven's
of his

people

and unimportant.

himself,

bar the saint

only

he sought

and the real

self

around him more and more vulgar

sought

in art

element

we

and human sides of life'(13).

these people he wrote for

deepened,

and less

Unfortunately

people.

down from the supernatural

are dragged
As his

and most cultured

himself

completely

efforts

were directed

he had no energies
behind:
body was awkwardly left
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

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

him (the

for

Therefore

it

an end in

artist)

does not become

as ... it does in the case

it does
to resignation;

of the will,

has
attained
the
who
saint
of
from
life,
for
him
only
deliver
ever
at
moments,
not
Ibut
for him a path' out of life,
but
therefore
is
not
and
in
it.
'
larger
The
consolation
self
only an occasional
is not
be said

something
about

it

we may disouss
has been said

further.
many times

its
nature
philosophies:
and
religions
to artists.
especially
well-knownt
this

In all
brotherhood,

it

is

discussion
perhaps

All

is vague,

that

can

in many

about mingling

surprising

that

but

and
the word

-34'love'

has not yet

boon 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,
has to be done we do not know; it

Why this

libidinally;

ooaimon work,

would not hold

the advantages

alcneq

neoesaity

them together'(14).

is understood

different

thousand

truth'(Weber)(15).

Fraud's

Eros and Death instincts

nature and importance
of our

composers' urge to commingle, it represents

'For
is
truly
basic
his
make-up.
music
of
it

of

into

of all instinct
emphasises the profound

division

and while

the

simply

These masses of men must be bound to one

work of Eros.
another

is

half

exactly
itself

love

...
at one and the same time by a
it contains
but one basic

people,
Lohengrin,

for

Wagner, symbolised

'ans whop from the midst of lonely

is athirst
splendour,
through Love'(16),
for taing understood
for being
for

accepted

'Elea

artist).

...
hand I too,

redeeming

not

century
tration

of the Folk,

for

whose

this

as the be-all

the principle

'The artist
or that

particular

of

himself,

yields

...

Thus doss the egoist

Love itself.
the unit

for

revolutionary

was longing'(17).
the world and the world loves the
level)
all is love, and character-

aotivitys

to a love

of every

as artist-man,

Wagner abstracts

the artist's

thirst

was the Spirit

When the artist

loves
.
(on
the artistic
artist
istioally

(the

what, he is

but

object,

to

become a oommunistp

Or in twentieth
the man God ... '(18).
for oonoenterms: 'Egoism brings concentration,
brings about
loneliness;
but loneliness
implies
all,

the urge to communicate

into altruism.
dissolves
the artist
thus attains

synthesizes,

with others,
By himself
gives

communication

with

and egoism then

becoming 'pall things"l

shape to new art

his

fellow

forms,

and

men'(Chavez)(19).

The use of legend and myth, though it might have

'Stimuli
Composition'
is
to
really
under
been mentioned
brotherhood.
Its strange,
human
viceof
an assertion
both
its
creative
partakers,
and receptive,
like grip on
'the
been
creative
noted
artist
has already
instrument
the
of some collective
become
has
he
Wagner
as
put
ors
experience
imaginative
I
know
to
life.
that,
more
is coming once
I
held
thing
this
starts,
am
willy-nilly
as

...

knows

itj

that

for

men no soon

a Myth

and cannot

-35baok ... '(20)

'the more collective
an artistio
imaginativo
is going to bet the more the disoovery
experience
is involuntary'(Tippett)(21).
'through
of suitable
material

turn

tonep the mind is

the legendary
dream-liko

and thus

olairvoyanoel
world's

it

wherein

state

forthwith

presently

in that

planed

oome to full

shall

in the

a new ooherenoe

perceive

This

phenomena'(Wagnor)(22).

is

the Dionysian

level

brotherhood.

of universal

Rimsky-Korsakov
of the psyche attracted
same level
of the ancient pagan period
when he wrote of 'The pictures
before
it
then
loomed
me,
as
seemed, with great
spirit
and
This

luring

clarity,
tion

had a great

subsequently

occupations

of my own activity
The belief

humansg 'the

influence

These
in

the direo-

as composer'(23).

in fundamental

includes,

humanity

the charm of antiquity.

me on with

of which

every

in all

existing

the above-mentioned

of course,

purely-human'

patterns

archetypal

hero in opera must

to be sympathetic.

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
partake

Dutchman he wrote

is

a mythical

of human nature

trait

a primal

'(it)

foroe'(24).

heart-enthralling

of the Folks

creation

speaks out from it

And of Lohengrin

with
'this

fresh
force
itself
by
to
chiefly
gathered
reason
power
...
to know the myth of Lohengrin in its simpler
that I learnt
and alike in its deeper meaning, as the genuine
it
I
Folk
the
After
had
thus
seen
as a noble
of
poem
...
by
from
seeded
man's
yearning
no
merely
means
of
poem
traits,

bent

the Christian's
truest

depths

became ever

toward

more endeared
to adopt

the urgenae
longings
internal
thrust

it

...

back each alien

mastery'(25).

despotic

from the other

plus-music.
two kinds

figure

to meq and even stronger

and thus
it

this
-

give

utterance

became a dominating

effort
Similar

to withdraw
examples

grew

to my own
need,

viloh

myself from its

may be found

music-dramas.

Nietzoohe
'The Birth

human natures

of universal

but from the

supernaturalism,

wrote

of Tragedy'
'Dionysian
of influenoes

more olearly

than anyone in

foroe of mythof the Dionysian

(musio)
is wont to exeroise
art
on the Apollonian

art-faoulty:

-36-

univorealityi
to stand

to the symbolic

incites

music firstly

it

and secondly,
in its fullest
forth

intuition

of Dionysian
causes the symbolic image

significance.

From these

to give birth
to
of
music
...
knowledge
Dionysian
in
the
of
speaks
myth
which
myth ...
to
'Dionysian
'
He
art
socks
convince us
goes one
symbols.
We
how
to
joy
the
are
perceive
existence
of
of
eternal
...
ready
be
for
being
into
a sorrowful
must
that
comes
all
look
into
individual
the
terrors
to
of
ende we are compelled
facts

I infer

existence
"..
Being itselfp
and joy

the capacity

We are really
and feel its

for

brief

indomitable

the struggle,

in existence;

moments Primordial
desire for being
the pain,

the destruo-

of phenomena, now appear to us as something necessary,

innumerable
forms
the
of existence
surplus
of
considering
into
life,
throng
one
considering
and
push
another
which
We are
the exuberant fertility
of the universal
will.
tion

the
these
very
at
of
pains
sting
pierced
momont when we have beoome, as it were, one with the
joy in existence,
immeasurable primordial
and: vhen we
by the maddening

antioipatel

eostasyg, the. indestruotibilitkt

In spite of fear and pity,
joy.

in Dionysian

of this
and eternity
we are the happy living
as the on living
are blgnded'(26).

being,

beings,

with
I think it

not

as individalsf

but

joy we
whole procreative
Nietzsche
was above all

Apollo-Dionysus
the'..
Stravinsky
Schoenberg
and
who gave
they found so significant.
terminology

Notaa

THE COt1PO1EIIAUD 1113 AUDIENCE

toIm2rea,

ire
D,

Haydn. 13iographisoh4 Notizent, Grieoingerp p. 33.

Kocart's Lettern, edited Emily Anderson 1938,2To. 411.

Mosart'o

Richard 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.

No. 489-

Lattera,

Sketob 1842,

I p. 10.

Dedrioh Smetana - Letters

and Reminieoenoesq
translated
Barton,
D. Rusbridge,
by rrantiaok

Stravinsky,

Carl

Ibid.,

10

Letters

11

Ibid.,

12

Carlos Chaves, Kustoal

Ch. V.

13

Robert
Wolff.

and Developments

1962 p. 36.

von Weber, by Baron Max guru

von Weber.

Expositions

Haria

compilod
p. 96.

Letter

to Dansi.

of Beethoven,

edited

Anderson 1960, p. 16.

Emily

p. 1357,
Thought

(1958-9

Norton

Lsotures)

Sobumann, On Music and HuBiOlAn, 81 Ode Konrad

Trans. P. Rosenfold;
p. 247"
Desire
Letters

to

Please

No. 426.

Mozart's

Nesoaisn. The Teohnique of my Nusioal

Olivier
1944, Ch. I.
translated
Satterfield

Aaron Copland,
New Muoio'.

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

Chapter 6.

50

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

Ibid.

Beethoven's Letters p. 334"

(1948)
Doouaonta
Xuaios
quoted J. Dartun
on Soviet
'The Pleasures of Puoio'. pp. 330-332"

prone Worka# Vol.

10

Uozart'e

11

Letters

12

Coil.

Letter

'Autobiographioal

Sketoh'

from

Languagep
'Our

and

1804.

Letters

III.

'On Musical Critioia'(1652

No. 3006

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

p. 63.

13

The Collected
Correspondence and Papers of Gluck (1962)
Stewart Thomson;
edited E. H. Mueller von Asox, trans.
Dedicatory
preface to Aloeste.

14

Letter

15

Wagner, Prose Works Vol.

16

Correspondence
Uoffmannathal.
22.10.1907.

17

Honegger.

18

Chavez,

Sotama. May 17,1854.

to Antonia

Mozart's

Ibid.

3A

and Popularity'.

Thought*

Musical

Letters,

Ch. VIII.

1951.

Ja suss oompositour

N.

'Public

VI in

between Riohard Strauss and Hugo von

dated
Trans. P. England 1927, letter

For Connoisseurs

p. 6.

or

DiQotp1es

No. 477-

541.,

Composer's

World Ch. II,

Stravinalgr,

Musical

Stravinsky,

Gustav Mahler, Memories and Letters

by Alma Mahler,
letter
Creighton
datad 14.12.1901,
trans'-8.
n.
Communioatio
to my Friends p. 327.

8A

Chronicle

Thought,

1935,

of my Life

p. 157.

Ch. V.

Memories and Commentaries

Correspondence of Wagner and List,

1888, p. 75-

10

Arnold

Schoenberg,

11

Musical

Thought,

12

Inoantri
Lecture

Musicale No. 3, -August

on Nothings p. 131.

Style

1959.

trans.

7. ueffer

and Idea p. 55.

p. 82.
1959. John Cage,

One Person in Mind

Kozurt's

Letters

No. 431.

Vetters,

of Brahms to Clara Sohumann; dated Nov. 1853.

K- t Ky ausioal

38-.
4

Letters,

No. 4559

Chopin's

Letters,

Letters

of Liszt

Correspondenoe

Ibid.,

Ootober

Life,

p. 72.

p. 30-

to H. su Sayn-Wittgenstein
of Wagner and Liszt,
1849"

dated

p. 123August

1850.

1849"

Ootober

Ibid.,

10

Wagner# Prose Works Vol.

11

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

12

Lottere

IVY 'To the Kingly

tran3.

F`riend'.

Lookspsieer,

The

118.
96miniscanoea,
p.
and

Xu4w

The

of 2. Cato 1891.

of.

Letter

of.

Kax Weber op. oit.

3.

A Co=unioatlon

to my Friends# Vol.

I p. 294.

Cluck op. cit.,

letter

June 1778.

Letters

p. 112.

Chopiri'e

Letters

Letter to $athildo
Pay 1857.

to Cuillard,

p. 29.

Wseendonok, dated fit.

Deairi

to

Shtr

Guiseppe Verdi, Autobiographia chile

16 July, 1875 to Count 4rrivabene.

Prose Works Vol*

Copland# Kunio

Moving in Aquarium
Tippett,
Composer and his Public'.

YID Publio

or

Lottere,

dated

1878,

and Popularity

and Imagination,

moral

Sylveotor's

p. 66.

Cho IV.,
ohapter

D1daQtio

'A

entitled

Aim

Ch. VI.

Coplsnd, Kuala and Imc4-inatlon,

Lettora,

COlleoted Correopondenoo, To Charles OokI 1801, P-187-

aohubert -A
16.6.1816.

Letters of dvard Elgart edited Peroy Young, letter

dated 29.6.1910.

Ibid.,

letter

dated 17.7.1903.

Ibid.,

letter

dated 13.11.1908.

1o" 205.

documentary biography,

Entry

in diary

III

Preface to The Ring poem - 1862,

Prose Works Vol.

p. 278.

Ibid.,

10

Moving into Aquarius,,

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

11

Inoontri Muaioali
'Alea' (article).

12

A Composer's

13

ibid.,

and Art,

Vol. VI Religion

p. 249entitled

No. 3, Aug. '59. Pierre

Boulez,

Wor1dl Ch. I.

Ch. I.
a 9. A. Luoiani,

Orpheus (Firenze

14

0. Respighi

15

Musical

16

On Music and Xusioiane,

Aphorisms.

17

Style and Idea, chapter

Evaluation
of Kueio.

entitled

18

Ibid.,

19

Letters,
Appendix,
and Royal Theatres

20

Prose Works,

21

Incantri
'Poesia

1925)-

Ch. Vt p. 99.

Thought,

for

Criteria

ditto.
'To the Direotore
in Vienna'.

Vol.

Musioali
e musics

VII,

A National

No. 3 Aug. '59,

'esperienza'.
un
-

to

Desire

Move

of the Imperial

Theatre,
Luciano

p. 355"
Berio

Correspondenoet Letter

to Jean Suard,

Gluok, Collected
October 1777-

from his writings

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

Prose Works Vol.

P. 73.

Prose Works Vol. III Opera and Drama, p. 120t*

disouesionp
further
of. Vol. III p. 338"

Ibid.,

Vol. I,

8tylo

and Ideal

7A

Composer's

It

Audience

the

by W. F. Apthorp,

The Art-Work of the Future 1849,

A Communication to my Frionda,

For

p. 343"

8.
p.

World,

Cho III.

loo. oit.

Ibid.,

letter
to
Appendix,
spurious
possible
Letters.
Schumann in referring
to this
Bettina
von Arnim,.
'the
majority
aim at emotional
letter,
comments
be
by
being
dressed
to
They
ought
punished
effeots.
Op. cit.
in women's clothes'.
p. 71.

10

Wagner, Prose Works, Vol.

my Friends',
p. 1.

'A Communioation

I#

to

ESSENCE OF THE WORLD

Introduction

1
2

Proee

the

Essence

Wagner, Prose Works Vol.

Ibid.,

Schubert -A
of 1824.

Vol.

Thin

or

II

VIA The Public

Jean Jaoque Rousseau,

1753P p. 235"

From a notebook

On Music and Musicians,

p.

dated
75.

Opera and Dramas p. 152.

in Time and Space.

documentary biography,

-Ibid.,

(1870),

VP Beethoven

Vol.

Worka,

Music

letter

Correspondence of Wagner and Liszt,

June 1855-

Easai

Lost notebook
I
des languea

our 1'. origine

of Beethoven,

published

by Nottebohn.

p. 96.

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.,

quoted by List.

10

Hector

Berlioz

11

Prose Works, Vol.

p" 249"

12

Busoni, The Essence of Music,

40.
$Now Aesthetio'p.

13

Style

14

Vaughan-Williams, The Making of Musio (Lectures

America 1954) D" 4.

15

Expositions

16

Correspondenoe
Dec. 1856.1

17

Conversations

Selections
-

III,

from his

On Liszt's

p. 9

writings,

Symphonic Poems,

Trans.

R. Ley.

From

and Idea, p. 1.

and Developments,

p. 101

of Wagner and Liszts

with Stravinskyo

letter

p. 15.

dated

in

Art

Rfleotion

Life

of

I# The Artist

of the Tuturev

Prose Worko, Vol.

Rooolleotion$

and Rofleotione,

Cf.

recorded

op. oit.

Aaron Copland, Copland on Musiop chapter

'Musio as an aspoot of the human Spirit'

.6
7

Interview,

p. 16.
Turangalila

with

p. 197-

Symphony.

p. 9.
entitled
(Talk 1954).

p. 229.
of Hootor Berlioz,
7
(Frienze
Letters
Mazzatinti
Rossini,
Giuseppe
od.
r.
tto
dottor Pilippi.
26 `August 1868
The Life

latter

1902),

dated

Sketch

of a New Eothotio

of Music.

Buaoni,

Collected
Pranoe't

Correspondenoe,
Feb. 1773-

10

Janaoek,

Letters

11

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

12

Ibid.,
No. 4. Henri Pousseurf Caso e Musioa, quotes
Wladimir Weiidlo
'Biologie
do 1'Art'
as his. musical
creed.

letter

to the

Race

with

Aaron Coplandp Our New Xusio.

Chopin's

Artiole
Musio,

Letters

Tohaikovsky by Herbert Weinstook 1946.

Mmo, von Nook Marsh 1878.

Rimsky-Koroakov,

Ibid.,

Prose Workog Vol.

Ibid.,

100o cit.

P. 315.

10

Ibid.,

ice.

cit.

P-311-

11

Ibid.,

loc*

cit.

p. 357.

12

R. Vaughan-Willia=,

13

Ibid.,

14

Blooh, programue notes,

p. 413"
ope cit.,

dated

La nuova

Pousseur,

Letters,

do

p. 169.

and Reninisoonoes,

Communion

'Meroure

1831-

Modern
Influence
Music
The
Peasant
on
of
in Tempo, Winter 1949=50Bela Bartok,
and Reminieoenoes,

p. 175-

My Musical'Lifep

Letter

to

p. 201.

p. 193-

chapter

I9 A Communioation

National

Muaio,

to my Friends,

ohaptor

p. 310.

III.

IV.

19331 quoted by S. Morgenstern

15

to Andre Caplet,
Debu$ey, letter
by S. Morgenstern.
ap oit.

16

Prose Workep Vol.

III

Commingling

22. Deo. 1911,

quoted

Opera and Drama, p. 374.

with

the

World

I (1920)

At the Crossroads in The Saokbut

Article
S. Morgenstern opo oit* p. 205.

Prose Works, Vol.

Ibid.,

p. 357-

Ibid.,

p. 335.

Prose Works,

Hahler,

Prose Works,

Ibid.,

p. 72.

Ibid.,

p. 73.

10

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,

letter

The Artwork

of the Future,

Vol.

V, Beethoven

of Genoa, Vita

e Dottrina,

St.

12

Copland,

Music and Iragination,

13

Letters,

p. 1405.

14

Proud,

15

Weber, Sfinttiohe

Schriften

16

Prose Works, Vol.

I,

17

Ibid.,

P,1347-

18

Ibid.,

The Art-Work

19

Musical

20

Moving into
Michael Tippett,
'The Birth of an Opera. '

21

Ibid.,

22

1861,
Prose Works, V01.111, Zuc.unftsmusik
to Villot
as Preface to French translation
libretti),
p. 329.

23

my Musical Life,

24

Vol.
Works,
Prose

25

Ibid.,

26

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

Thought,

loo.

and its

364.

p. 190.

Essay p. 69.

11

'Civilisation

p.

26, March 1896.

to Kam Marsohalk,

Catherine

to my Frionda,

Ip A Communication

Vol.

quoted

XIV.

chapter
III.

chapter

'

Discontents.
1908,

'

p. 128.
to my Friends,

A Communication

of the Future,

p. 345-

P-94-

P, 34Aquarius#

chapter

entitled

oit.
(Public
letter
of four

pp. 174 and 141.

29 A Communication

to my Friends,

of Tragedy,

(Complete

p. 307.

p. 333.
1868.

Works

Part

III

THE COMPOSER AND THE

IDEAL

THE

COMPOSER AND

THE

IDEAL

1.
. r.
Formal

We must begin
the Ideal

with

of order

without

Orier

of composers'

our survey

of the simple

survey

a preliminary

apparent

any readily

to

attitudes
attraction

implications.

metaphysioal

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
to the cold,

fined

to adhere'(l).

have been obliged

in truth,
express
imitate

is eternal,

neither

music and Stravinsky

over-dramatic

self-consciously

unified

the more usual

concepts

Stravinsky

composers

of beauty,

music.
middle

sometimes wrote

'The free

will

technical

must be free'(3).

science of composition
The mind and soul
chains.

Haydn's

statement

not

arts

and

tolerate

a norm from which we

supplies

in quoting

now depart

too

Both were reacting.

Haydn
together
the
course in bringing

and freedoms

science

The argument
Cluck sometimes

the beautiful

will

'do we not,

writes

from which we shall start.

side is right
or wrong.

situation

implies

to which

ask the impossible

of music when we expect it to
feelings,
to translate
dramatic
situations,
even to
Nature'(2)?
These two attitudes
the
represent

familiar

wrote

beauties

conventional

to

statements

that

emphasise

one

of the creative
science - knowledge

picture
at the expense of otherse
is
by
one
such
emphasised
part,
'Musica est scietia
bone modulandi

part

Hindemith
you lose

here s
this

firm

stand

on solid

characteristics

as an artistic

individualistic

vagary

for

the composer himself

...
music loses its

ground,

manifestation,

it

becomes an

and as such has no validity

and his

bewitched

Once

except

devotees.

The

The first
us a firm stand'(4).
reason
of freedom, then, is efficient
communi-

of music gives

soiontia
for the curtailment
cation.

'Contemporary'

Rameau saying,
selves

are

understood'

composersp

'astonished

...

because of

their

as we have already
at their
lack

quoted

not making them-

of intelligible-

making Reason.
is born of
The second reason is that 'strength
and
(Stravineky)(5),
in
dies
freodoa'
by which he
constraint
ensure unity
means that limitations
and therefore
communifurther
cation and the composer can then without
scruples

r2

abandon himself

imagination

to his

limited,

worked over,

Webern's

Eurkd cry when he felt

therefore

'the

more art is controlled,

is free'(6).
One remembers

the more it

had limited

serialiom

and
from

the chaos of posaibilities;

resulting
'Adherence
is strict,
tonality.
of
often

ordored,

the dissolution
burdensome but

'It

it

is

is

vation'(7).
eal___

the distinguishing

of the

characteristic

himself
he
that
now
problems
continually
sots
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

wrote

he had 'Yet

of a coach accident

to a certain

extent the pleasure I always feel when I

have overcome some difficulty
successfully'
and as if the
of this

writing
turn

from outer

quickly

Stravinsky
by nature

is

to inner

the most explicit

always

immediately

aug, ested the

'Well,
let me

own mind he continues

of his

workings

profound

incident

external

tempted

'(12).

experienoes...
example of this

by anything

needing

'I

types

am

prlongcd

to
in
diffioulties'(13).
overcoming
persist
and
prone
effort,
in the very process
this feeling
I can exprienoe
of pleasure
joy
in
looking
find
forward
the
any
which
or
and
-to
of work,
And I admit that I am not sorry that
discovery
may bring.
been
because
facility
have
so#
perfect
would, of
should
in
diminished
the
have
eagerness
striving,
my
and
necessity,
"found'
have
been
having
would
not
oomplete'(14).
of
satisfaction
its
oriai na sort of appetite
at
presupposes
! All creation
fore
discovery.
by
the
tasty
This
of
brought
is
on
that
this

foretaste

but not yet

already

entity
that

...

accompanies

will

vigilant
Stravinsky
suddenly

not

take

shape except

teohnique'(15).
is

the intuitive

emphasised

be given

to-me

intellir!

of an unknown
ible,

by the action

The necessity
in this

grasp

of this

statement

in a perfectly

of a constantly.
to

prooess

'should

complete

an entity

my work

form*

-3-

by
its as by a hoas'(16).
be
nonplussed
embarrassed
and
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

because freedom not

sought

is

curtailed

unbearable

chaos.
quite

being

from order

apart

ohaos'l it

be unbearable

what would otherwise

in itself,
fascinating

it

is

coon as an antidote
is

often

to

aeon as

to composers as any

as alluring

Both Mozart and

we have mentioned.
stimuli
(the
latter
former
to
his
the
letters
oousint
write

of the other
Beethoven

Zmeskall)

to Nikolaus

discursive

without

meaning.

of aotivitiesg
of Natures

phrase

is

of his

attitude'*
(which
instance

p4rtioularly
'The fifth
cost

interesting

at the same time

while

as though

through

for

an

in which

the

for

(of
movement

six

forms

Here is

form,

the understanding
'Movements'),
for

I rewrote it twioe)l
Five orders are

effort
me a gigantic
of twelve vortioals.
with

observation

of Nature's
for

fascination

uses a construction
instead of four,
rotated
direotionsp

and symmetry, and these

themselves in all sorts

been noted.

has already

example of Stravinsky's

quotes

minds were constantly

The fascination

and so on.
and others

the five,

Their

pure word-pattern

must have manifested

Mozart's
billiards,
Beethoven's

preoccupations

final

into

lapse

upon forms of repetition

cogitating

Messaien

which

for each of.

alternatives
the six 'work' in all
He also

a orystal'(17).

to music

whose statement applies

I have seen by a musician'
than any statement

a mathematician

'more

powers which no one

precisely
'Mathematios

of mysterious
are the result
in
the
of
recognition
unconscious
which
and
understands,
infinity
Out
important
of
of
an
part.
beauty must play an
for
beauty's
chooses
one
pattern
designs a mathematician
it

down to earth'(18).

Stravinsky

writes
pulls
sake and
through
not a
a perceptual,
'The
works
composer
later
he
he
He
combines ...
seleotst
perceives,
process.
conceptual#
is
the
his
of
apprehension
contour
about
cares
knows
or
be
All
is
As
Arthur
form
the
for
everything'(19).
form,
the
of
in
book,
to
his
lengths
to
show
recent
great
has
gone
Koestler
have
been
discoveries
made
scientific
the
greatest
many of
logic
than
discovery
by
by
beauty
rather
through selection
a sort

of noble

tidiness

was the cause of the scientist's

tidiness
That
this
truth.
the
at
arrival
is
mystial
to man's mind but frequently

is not
apparent

only
from

noble
a

-aof the Pythagorean

study

connections

with

life

all

of the universe,
union

architecture

and music).

fascinated

(having

mathematics

the maorocosmio

and relating

symbol

to the mioroooemio

the decade,

the pentacle

of ideal

tradition

symbol of man,
in
concretely

of 3aand 2 manifested

Hen of our century

by numbers to this

instance

for

extent,

have been

also

Le Corbusier,

Yeats -'and perhaps also Schoenberg ... for instance

he notices
the corroeponessay 'Brahms the Progressive'

Kondrian,
in his

denoe between Brahma's

date

1833, 'Wagner's

bith

essay 1933 and asks

of his

'Does not

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

dates

death

1883 and the

the mystic

suggest

In later

corres-

some mysterious
he was so

life

the
that he numbered bars
of
number thirteen
superstitious
14 (of. Violin
Fantasia),
12,12a,
and on his deathbed at
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.

16,

The point
hold

an invincible

fascination

pleasure

deriving

And this

pleasures

'desire

inspire

and drench
'(Hindemith')(22).

work ...
term artistic

for

of that
with

attitude

which

making for

between the concrete

the abstract

which

one must approach

are seen in the outside

proportions,

connection
theory,
Plato's

to know,

to comprehend must
(the
every phase of
composer's)
Beethoven apparently
favoured the

and intellect

Affinities
fascinating

qualities'(Sohoenberg)(21).

the description

combined fooling
(23).
music

numbers and proportion

man and in music 'the mental

beauty can be tantamount to the

from emotional
this

that
for

caused by structural

pleasures

incites

is

we are emphasising

to these

world

justified

a closely

and the abstract,

is not

yet

or distilled

abstracted

it has an independent
existence
from the concrete,
'Nature is founded
its
is
manifestation.
concrete
and,
with
Prince

again,

Art

reference

is

founded

to a harmonic

aalitzin

on Nature'(24).
process

'A system of tonal

the
on Art

Beethoven

he was explaining
...

as in

centres

is

wrote
to

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
them
the
in
they
to
with
real
order
which
concoct
artist
solely

for

the purpose

us
(or)

are made articulate.

Wagner, ouriouslyq

agrees.

'holy

-5the daughtor

Art,

glorious
blossom

in

like

fulness

Manhood (will)

of the noblest

and perfection

Mother

with

Nature,

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

it

prooeedsp
himself

appears#

is nature's

modelled
factions

ego....,

from man as he himself

proceeding

from natures

as he

man's masterpiece
Chaves calls

masterpieoe'(27).

this

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

projection

need for

'Art,

man to arts

communication as ...
in a universe
we live

the impulse
of creation,

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

to project

much in the front

and we ourselves

tool

we ourselves

birth

to creatures

of

the

of music with

of Busoni's

of the vibrating

our

consoiousnessp
(Cr. Pt II,

universe'(29).

p. 25).
These beautiful

Forms (or

Ideas)

Platonic

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

thus

distinction

': hors

and there

and wfeotion

out of date

incomprehensible.

speakingg

strictly

is

and eventually

changes continually

is

Busoni words the

demonstrable

an aboolute,

are things

and,
beauty

that

please certain
be looked upon as beautiful

times
and will
certain
at
people
(30),
by them'
and proceeds to extol-', the former and hastily
(the opposite of Wagner, with his
latter
the
condemn
)
'archetype
'Monumental'.
Chavez
As
the
says
condemnation of
forma

are for

(That

in themselves.

us beautiful

is why they

they
and
remain so always, and so some
are arohetypes)'(31),
it
task
to
have
a
more.
worthy
concenconsidered
composers
their
Apollonian,
of
with
the
elements
music
eternal
trate
on
Platonic,

beyond-passion

elements

their

with

it

that

1Ieracl. ite;
side

ian,

may be entirely
ideal

passage he is not

talking

they

passionate

are something

fairly

separated

music was Mozart,

of his

own aims

similar,

by any mundane Form, the Mozartian

melody is
'
It hovers like Plato's
Eros between
sich.
an

'Untrammelled
the'Ding

in this

than on the fluctuating

Strauss,

For Richard

from the other.

we may take

Dionysian,

though neither

connotational
and though

connotations

6-.
free
between mortality
heavon and earth,
and immortality
set
-,
deepest
it
is
the
from 'the Will'
of
penetration
artistic
.
into
fanny and of the ouboonaoioua into the innermost ooorote,
(32).
'
But bore, again, we arcs
the realm of the 'prototypes.
bad$
typical
A
more
yet
into
the
metapbysioal.
straying
elements was provided
on the eternal
when it knows bow
claims its rights

example of ooncontration
'1o bon nano
by D'Indyi
from'the

to oliwinato
order

work of art

that

to keep only

which

excessive

all

in

matter

the balance

to etornals

of the

of beauty'(33)"

olemonta

in
neatness and logio are words frequontly
the
imply
do
but
they
existence
not
state
composers' mouths;
been
have
otries
wo
sym
the
archetypal
unconsoicua,
of
Balance,

biozart,

discussing.
of the tailor's

for

coMotimeo used the onalogy

instance,
to describe

noatneso

he desiredi

achievement

the neatness and

'Finally
it occurred

to

effortless
(when
'could
I
fugue)
not
and
extemporising
a
prelude
me'
(middle
lively
tune
as the theme for a fugue?
section)
use my
I did not waste much time in aakingg but did so at once, and
(his
itW(34).
had
fitted
if
tailor)
Dauer
it vent no neatly
as
through
and calculation
blowe'(35)
opirit
of the speculative
-

'Everything
which

the breath

is

balanoe

elements and allows the

framework
through
that
'leaps
to
the
coma
spirit'
of
rarer
The cane method in more crudely put by
if they will.
John Cages 'That musio in simple to make comes from one's

Stravinsky

the conscious

with

starts

Structure
limitations
to
the
of
structure.
accept
willingnesa
figured-out,
is simple because it can be thought-out,
in return
is
discipline
It
aoaeptedg
which,
a
measured.
accepts

even those

whatovor

train

as sugar-loaves

rare

horses,

moments of ecstasy,

train

which,

us to make what we

make'(36)"
'Ytusioal
human logioi

they

ideas

must oorrespond

Ure it part

of chat

to the laws of

=en apperoeive,

reason

(37) -- t3ohoenbr, rho also wrote $for sae the

and express'
thuoe ar; eooiationss
Logic
tlogioal'
evokes
expreosion
human
human
human
thinking
world
tnueio
human way of
.
perception

of natural
Henri

within

law,

Pousseur

h
writes
which

is

his

and so forth'(38),
aware of a 'new v8u3ioal
crusiop which

is

presumably

sensibility'
comprised

-7of oompooors for

these

Gestalttheorie

their

with

'How well

ovneras

that

observed

psychologists

to which
a chaos of amorphous sensations
'
forme
coherence.
and
sense
act can give

sufficiently
to grasp,

something

stimulating
is well illustrated

interesting

in itself,

complete

complex

in
in

beautiful
coherent in all its functions#
(40).
harmonious
its
in
ensemble'
and

its

expression,

its

parts,

'The sole purpose',

musio has, is 'of establishing

to Stravinsky,

according

in the abstraot

or man and proportion

The attitude

in things

an order

between man and time'(41),

oo-ordination
though he says this in other oontextsp

that

the
'*
..

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

implies
of

man, or rather

as highly
must be understood
world'
removes from oonorete existence.
'the

In a daring

entitled

article

the possibilities

takes

and

yet not no complex as to be chaotic,

two rejoioe
in the
in Chavez's remarks

of an entity,

contemplation

have the

in perceiving

to make it

complex

confidence

is not
perception
only an intellectual

'pattern-meohanism',

of the

The joy

of calculated

many

abstraott

'Proportion'
balanoeq

Busuni
which he

'It
is
their
'an
to
even conultra.
ne plus
aim'p
calls
the
developed
to
in
the
future
that
aims
an
ceivable
in
the
take
art
place
may
of
pre-eminenoe,
highest point
instinct
the
of
compositions
inspiration'

which

towards

performance

works differently
spur
they
given

gradually

produced

by

the
comment representing
balance is also by Busoni, but
of the composer's,

articulation

of his

and produce

as those

as alive

attitudes
final
the
concerns

his

fading

of a quality
(43)9
The final

various
it

is

works

'Great

at each repetition,

artists

play

remodel

thought,

their

own

them on the

in
which
retard,
a
way
and
accelerate
the
moment,
of
to
the
by
do
and
always
according
signs
could not
conditions

of that

"eternal

harmony"

the

one can write

mechanisms in full

scientifically-studied

of communicating

to the surface

therefore

mechanisms of the mind;

pattern-malting
for

has brought

whom psychology

'(44).

-8-

z.
$Let

Beethoven

is

be

there

Unity!

supposed to have said

'Musio

Any single,
to the Harmony.
mind a relation
has in it the feeling
of the Harmony, which
and he wrote

to someone who requested

one has thought

difficult

bad text,

it

is

destroyed

if

individual

to prevent

he could

he usually

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

'once

whole from being

are made here and

marking in the essentials

arsis'and
the
thesis
view

in toto,

(1){

is based even on a

this

alterations

We know that

there'(2).

idea

separate
is Unity'

alterations,

out a whole work which

the

gives

sketched

movements

of rhythmic

motion

till

like

as one entity

the

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
there

is no absolute
down, no right
forward or
or'leftq
baokward'(3).
Stravinsky
encourages us to take this
(4)9
drawing
diagram
by
his
attitude
a
of
music
which seems
than proceed in any consistent
to turn in on itself
rather
direotion

Stravinsky's
with

oonstant
which

unity,

younger
gifted

obsession

has had a far-reaching

''The

can be'unhealthy.
the musician....

occupies
to the pursuit

struotion

always

must rcplaco

all

essential

on

question

and. inevitably

oontrasts'(6),

Electronic

that

reverts

back

breadth

the aspects

to accept

anything

to serial

referring

faced

composers are of course

of choice

that,
as Stockhausen writes
the strong desire to submit

longer

influence

In his most
of tie One out of the kany'(5).
he taken this yet further,
saying 'oon-

writings

construction.
with a baffling

principle

it

Boboenberg's)

they are not usually

composers, though unfortunately
such an
minds and therefore
with such fertile

obsession

recent

(like

and so it

is not

surprising

'a few composers have nourished

radically

of their
objectively

to a unitary
oompositiona,
existent

standard
and no

which might

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

is

there

the attitude

which emphasises

or germ and then viewing

ideas

of his

profundity

to the most remote

'Every

the possibilities

'The craftsman

from it.

resulting

and his

it
so
-

with

a motive

and consequences

is proud...

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

consequences

motive

starting

like
seems to me - contains
itself
in
there
each
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

These germinal

own lifer

their

the ideal

find
colour

ideas
looking

and acting,

Finallyt

their

this

serialiam,
development

being

deeply

login

has rooted

historioally

beingar

moving
they

whatever

from

as twelve-note

- and applied
regarded

'there

by Webern -

as muoh as possible

as an even more concentrated

...

'

'the

that

symmetric

rhythmical

patterns

and music

of them in consciousness

subconscious
he goes on:

as Chaves saysl

in our suboonsoicust(13),

festation

their

of the prinoiple.

imbued with

'Atavism

exploit

from the development

Some composers have noted

is

a shape and

way out and for

to derive

effort

ideal(12)

one prinoipal

live

derived

the unity

oonstant

to evolve

to

end'(Chavez)(11).

0germ'
was peroeived
of a
this

them,

their

the oomposer,

creator,

are themselves
for

may need to achieve

is

...

will
most fully
'(Copland)(10).
-

potential
'...

for

seem to be begging

that

and content

creative

their

asking

envelope

ideas

'musics

very

the mani-

is

eat exerbitium
'
Liszt
anima.

as numerari
mathematicae oocultum nesoientio
determined
by
has
'art
existence
not
an
man's
.. *
wrote
the successive
phases of which follow
intention,
a Course
independent
flowers

of his

in various

whose inner

origin

deciding

and predicting.

ways in conformity
remains

just

with

It
basic

as much hidden

exists

and

conditions
as does the

in
its
the
holds
And
world
course'(14).
which
Schoenberg demands that the efficient
use of this faculty

force

-10be the criterion

in judging a composers 'the capacity
fulfil
instinctively
the demands of
and unconsciously
lawfulness

oonstruotive
natural

in music should

be considered

the

of a talent'(15).

oondition

Schopenhauer

wrotea

impialoe-with

which

unceasing

to

'if

the strong

we observe

the waters

hurry

and

to the ooeang

the persistency
with which the magnet turns ever to-the
North Pole :.. "if we see the crystal
quickly
and suddenly
form with

take

regularity

euch wonderful

of construction,

definite
only a perfectly
clearly
directions,
determined impulse in different
is

which

by orystallisation

retained
it

says

even

recognise,
the

under

require

will

at

Mahler
its

the very
of its
calls
plaoe,
towards
right

a distanoe,

as it

is

to his

the

imagination

to

our

own nature

.. o

(that

created

this,

all

one and the

everywhere

wife:

what every
feels

of

and

seized

we observe

effort

no great

wrote

foroet

mystic

...

no great

name will,

if

and accurately

eame'(16).

which draws us by

thing,

perhaps

even

absolute certainty
as the centre
employing
here
Goethe
image
what
again
an
-

stones,

being,

the eternal

with

feminine

that
is
to
the
say,
resting
in opposition
to the striving
and struggling
(the eternal
masculine)
- you are quite
the force of love.
There are infinite

the goal,
the goal
in calling

and names for

representations

it'(17).

Liszt's

lawfulness
comparison of unconscious
with
is significant,
for the
the law of gravity
especially
ideal
the
few
the
coming
which
of
classical
revolution
Galileo,
Kepler
1ewton
earlier
achieved.
and
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

Haydn and Xozart

widely

contrasting

a new type

exhibit

of melody,

elements

and

'

of orders

rhythm

where

and harmony

law-abiding
is
this
into
equilibrium;
one
a
are welded
than
grasp of unity
more highly developed and confident
the Baroque

(Bach,

whiohp broadly
One cannot
reality

help

always

speaking,
feeling

of Law in

on the fringe,
seeks unity

that

the world

this

is excluded),

in affective

new confidence

resulted

directly

uniformity,
in

the

or indirectly

-11from Newtonian

'Legions

the times

to them; and in

is

This

physics.

the view of a German ; post of

in the spheres assigned
glitter

of worlds

those

spaoesp where stare without

orbits,
all is obedient to

ethereal

number move in their

Order.

a single

was made; it
tempest (of.

exists
raging
music. ");

it

binds

the tiniest

that

everything

alike the gentle zephyr and the

'even in the most terrible
Mozart's
the ear ...
that exists

offend

everything
insect to man himself.
law is

$our first

Happy shall

creation.

Order,

rules

must never

situations,
from

appointed
To conform to this

never
with

its

oharmt

'

the well-being

I be if

cease to be

I never

of the whole
impair,

by any fault

the
Universal
OOood, to maintain and contribute
own,
my
of
to which is the sole object of my ezietenoe'(18).

-I-Netaphfeioal

We will
Boethian

trace

metaphysical

The cosmic rue tea mundana of the

would be the obvious place to start
any

order.

tradition

such enquiry,

the more ezplioily

now consider

towards

attitudes

Order

it

yet

is well

out of our way and we must

in our own period

the tradition

where its

imprints

are

few but very important.

'Music

Beethoven's
the harmony'

is

the Infinite

which

created
feeling,
explicit]

one suoh;

form'(l),
is

gives

Busoni's

surrounds

to
the mind a relation
'L endeavour to draw upon

as opposed to expression

another;

touch -

(Noting

back in

of personal

tindsm-ith's-attitudes

"'tho-3oethian

it

mankind and to give

show quits
the similarities

between the measurement of music and that of the other

belief
lead
the
there
is
to
that
'td
us
could
sciences)
idea
in
the
foundation
ancient
of a universe
some sound
be
laws
to
by.
or,
more modest, a universe
musioal
regulated
whose laws of construction
by a spiritual

...
beautiful
in
a
worked out

would transform

in musical

reflection

IHarmonio

and operation

melodio,

the world's

are complemented

organisms.

and rhythmic

and most exalted

laws,

as

Domposition,

woes and falsehood

into

the

-12ideal

would have grown into

ennoblement

musical

This noble

of such a paradise'(2).

greatest

seeres

as. he. onters

spiritual)

things

All

gravitation.

worthy

of Order and
of humanity's

seek their

it,
to
movement

and in. the orderly

of

to Dante
explains
(material
the law of universal
and

is

Paradise

creatures

vision

those
line.
in
with
much
thing Beatrice
the first

is very

Paradise

who by the same process

human beingar

for

habitat

time place,

therein,

and rest

'all
things,
Cod
to
the
universe
of
consists
impression
'
Swedenborg
The
main
order.
mutual
observe a
its
of
wondrous order and organisation.
was
got of paradise
With the doctrine
of the Maximus Homo he compares it to the
the likeness

of the human body wherein

working

in harmony with

task

allocated

admired
and Stravinsky

quotes

the Areopagite

'the

the dignity

greater

of all

most elevated

Boetfi

: us,

assertion
Ierarohia?

made
)
-

in the celestial
that
the....
they
use= so
words

the fewer

hierarohy,

liindemith

awe the mystical

(in Do Caelesti

with

by Dionysius

Schoenberg

the whole.

Wagner Dante,

Swedenborg,

its

each member performs

of the angels

pronounces

only

a single

syllable'(3).

has read such a book at all is signifioantt

is
order
going on; as
of
metaphysical
new
revival
a
Stockhausen says 'the new function
of music must be

That Stravinsky

its

within

order'(4).

of sacred

essence,

very

-4w
Ideas

Platonic

of
of the principle
to
in
it
bears
causality
no
relation
rea3on,
do
to
It
has
ordinary
withthe
nothing
also
else.
A
instinctive
lives,
will-to-live.
our
of our
independent

The Idea is

sufficient
anything
purposes
love

Ideas
of

life

blind
the
and

All

Ideas

vill-to-live,

and obtain
is
his
sense

this

that

canonly

objectivity,

himself
in

occur

Mozart

art

is

Idea,

by many oomposerst

seemingly

to transcend

a metaphysical

ability

loved

undoubtedly
to balance

himself;

and

love.

of course,

has been especially

divine

in a man who aspires above

to forget
who desires

but

it

is remarkable

as a harbinger
because of his
extreme

sensitivity

of

-13(mirror

of expression
degree

of Order.

of Mozartian

or instinct)

of the will

discussed

We have already

'Ding

melody as the Kantian

he goes on to call

all non-intellectual
inspiration
automatically

symbolical,
as if
'nor is that other

of oethe'sp

sentence

c'tth a high
Strauss's
view

an sich'
inspiration

etc.,

discovers
'I

and
Ideas#

have always

con-

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,

sidered

all

'inspiration'
it,
is
really
as
on the part of the intelleot'(1).

in so far
operation
thinking

in writing

of Mozart
let

therefore,

us be thankful

without
any coBusoni is also
the depths of our hearts,

'from

to the select

few who are

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.

The attainment

contemplation
of Ideas
illustrated
than in

of objective

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

has been realised!

'The dream of seeing

I do not

...

think

each

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.

Did you recognise

realise

its

in

this

sanctity!

the voice

speaks.

indeed

merit

itself,

eyes wide open I see

but no longer

hear

We do not

see the place where we

The present has no
on distance.

fixed
our
are
eyes
are,
is nothingness.
future
the
existence,
that

Life

to

take on more and more the shape of a

dreams the senses are deadened, with

keenly
are
attentive
ears
oy
nothing,
that

I begin

Ohs heavens,

the road toward

of things

the reality

me?

I should

give

it

Does my work

my entire

being?

What

life
children
your
must go on'(3).
about
about your what
hesitant
about taking the final
steps
Wagner is naturally
throwing
overboard all will-to-live.
and
of renunciation
(Schopenhauer)
how
to
a philosopher
Here we see
perfection
to suit exactly
the
has given a composer a terminology

-14innermost

of his

expression

verbal

him moat unusually

feelings

thereby

rendering

few sections

will

be broadly

artioulate.
5.:.

Aspiration

The pattern

of the next

to metaphysical

from aspirations

a progression

aims to

through
the
Aspiration
these
use of
aims.
of
achievements
in
by
Catholic
the
been
has
religions,
sanctioned
always
music
the use of tropes was intended as a
for instance
liturgy,,
in
the
to
rapture
celebrant
and congregation;
speechless
stimulus
the expression
the power of words having been exhausted,
of the
have
to
Composers
Ideal
over
passed
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

Why separate

...

them?
'We alle

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

man the higher?

They are the twin

whether

Love or

wings

of
or

we are artists

moments when we want to get outside the

life,
of
when we use dimly a vision
of ordinary
the
find
those
beyond.
call
whom
we
artists
...

experience

limitations

something
desire to create
Liszt

spoke of

beauty
'that

irresistible'(Vaughan-Williama)(3).

mysterious

Jacob's

Ladder with

which

he
heaven
thought
of art always
and
earth'(4)
art
in Hegelian termsg 'ideal
embodied in 'sensuous
content'
ladder
the
duty
to
it
the
form'(5)
climb
and
was
artist's
links

to bring

in order
thought

similarly

higher

things

of Jacob's

the Unspeakable;

images for

Ladder,
for

Schoenberg

'to earth.

he used many

in fact

in his

instance

Kahler

'but
longing
must
he
we
with
passionate
concludes
essay
been
has
to
Tenth
the
not
revealed
us'(6).
yet
since
fight
one
Liszt,

in perpetual

impelled

for

longing

its

also

men wish
forme for
future

great

'Man ... feels himself

by an innate and sovereign
alternation

a satisfaction

and Schoenberg
all

further,

wrote

wrote

to which he cannot
'there

to expresss
an immortal

is

only

longing
this
the
of
soul
though reached by many different

a name'(7)

one content,

the longing
souls

give

for

which

of mankind for
dissolution
its

the universe

for

alone,

roads

God.

into
This

and detours

-15by many different

and expressed

means, is

the works of the great;

all

their

and with
they yearn for it

will

intensely

it

until

transmitted

its

his

Liszt

with

and desire

it

longing

is

had dared give

the
to
a

so Schoenberg names what to

one 'cannot give a name. ' The

Ding-an-sich,
to which

was something

so

from the predecessor

as Sohopenhauer

Just

heritage'(8).

name to Kants

strength,

And this

intensity

full

of

not only
and the successor continues
the intensity,
adding proportionately

but also

content

so long

is accomplished.

with

to the suooessor,

their

all

the content

Schopenhauer says, the artist

achieve thief
alone will
'It
is
long,
occasionally.
glimpse
not the restless
and
must
jubilant
life,
the
delight
which has keen suffering
of
strain
saint

or succeeding
as its preceding
loves
life,
but
the
who
man
of
a deep rest

shaken,

behold

and inward

in the experience
condition,
it is a peace that cannot be
a state

serenity,

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
surcannot

without

our 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
everything

passing

upon which

elset,

on, the contrary,

may hunger again on the morrow; resignation,
is like an inherited
state? it frees the owner for ever from
all

In case it, be suggested

care'(9).

me quote one other

a different
and desire

great

and returning
the moth to the light
quintessence
imprisoned
itself

that

to return
this same longing

that

is
man

a type

is

like

that

of

in its

which finding
the human body is

is

that

quintessence

is

philosophers

the terrible

in natures

and

of the world'(10).

alignment

Ooarcely; ' neoesearyl

of completeness,

heart,

own country

of the. elementst

of Wagner's

proof

is

longing

milisu"

ever
as the soul within
to its sender; and. I would have you know

longing

the great

state

to one's

of chaos is

But this

...

the spirit

respeot

thoughts

from quite
the hope

artist-philosopher,
'behold,
Leonardo: -

age and culture,

(repatriarsi).
back
of going
to the primal

this

these

to the Sohopenhauer-Wagner-Sohoenberg

are exclusive
lot

that

part

of a letter
'If

tenacity

I think
with

with
but

Sohopenhauer
here,

he wrote

for

in

the sake

Liszt

about

of tha storm of my
which,

against

my desire,

46it

hurricane

this

feel

and if even now I

men I have at least found a

to the hope of liter

used to cling

within

helps
in
nichts
wakeful
quietus which
the genuine ardent icnging for death,
aoiousness,
our only final

total

'In
with

I have discovered

this

but

also

metaphysics
by the briefest
"the

love's

unoondreams is

reference

avowal of the gentlest

through

sighs,

coincidence
them differently,
the same thing'

a personal
of life

philosophy

and

seen
and parcel is readily
' ... in one long
to Tristanj

is part

composer let

half-heaved

is not merely

an entire

of which art

breach

a curious

and although you express

I know that you mean exactly

That the sentiment

wishes

absolute

salvation.

religious,
(Autumn '54)(11).

consolation

is

This

free iom from all

non-existence;

being

first

for

thoughts]

your

breath

me to sleep.

that

unslaked

longing

from

swell

tremour

of attractions
laments
hopes and`fears#

through
and

the
find
to
to
the
resolute
attempt
most
...
...
to the heart a path into the Sea of endless
unbarring
Its power spent, the heart sinks
delight.
In vain!
desire

of its

back to pine

without

-'desire
till
desire,
fresh
the
fruition
of
seeds
sows
each
the breaking eye beholds a glimmer
lassitudo
final
highest

bliest

it

is

the bliss

of quitting

for

attainment;

life,

in its
of the

of being

from
realm
wondrous
redemption
no more,
it
by
to
farthest
the
enter
strive
when
we
which we stray
is
it not Night's
Or
it
Death?
Shall
force.
fiercest
we call
ivy
the
vine
and
a
an
says
as
story
whence,
wonder-world,
Isolde's
Tristan
in
lockt
grave'(12)?
and
o'er
embrace
up
sprang
into

of last

that

As Edgar Wind has shown, renaissance

painters

were

Hesiod,
by
teaching
the
of
attracted
much
and
familiar
with
(later
Pico)
by
Ficino
Plato
and
repeated
Orphica
and
the
it
turbulent
discord
in
grows
born
passion,
and
is
that Love
in concord
dieaordia

(love
oonoorst

on earth),
a union

and its

oonsumtiozi

of both which

is a

is when the mortal

(divine
love
love),
but
the
himself
of
the
god
is loved by
(13).
be
to
Tristan
Thus
death
would
seem
the god means
doctrine.
the
of
ancient
reformulation
a traditional

-173ohubert

death-in-love

dreamod of a similar

poem 'My Prayer'

of illneas u

whioh he wrote

little

after

in his

a serious

attaok

'With a holy seal I yearn

Life in fairer
worlds to learn;
Would this gloomy earth might seem
dream.
Tilled
with Love's almighty

4th
verse l

my flesh

Take my life,

and blood,

flood,
Plunge it all in Lethe's
To a purer stronger
state
Deign men Great Onep'to tr nslate'(14).

'

-6.
Refure
The 'capacity

to create
disoontent'(t)

divine
a certain
the discontent
being
the world

as it

from

something new proceeds

is the way Cyril Scott

that

of the divinely-aspiring

is.

Discontent

put it,

composer

with the world is

his brothers
apparent with none more than Beethoven, he tells
in the Heiligstadt
Testament that he would have committed
with

suicide,

but like

saw that

suicide

a true

Sohopenhauerean

is no solution,
(of
and objectivity

of the will
and of which

he said

'One cannot

'this

his

his

time,

in renunciation

is

the concomitant,

- my refuge-

Thank God')(2).

doubly

for

grateful

that

of its own, far away from everything

which has a life
happy'(3)
to
flee
be
which
we
can
was
and
a solitude
he
Mondelssohn's
sentiment,
and in his time of sterility
Art

wrote

'At

a time when everything

he

lay

path

which art

art

help being

before

that

else

ought

to interest

empty and vapid, the smallest

the mind appears repugnant,
hold
innermost
to
takes
being,
of
one's
art
real service
leading one away from town and country# and the earth itself,
sent by God'(4).

blessing
a
and seems

in Wagner as the figure

What starts
Dutchman ('a
it

with

primal

trait

heart-enthralling

of human nature
force

from amid the storms

of life')

himselft

to go deaf

Venice

whoa unable
for

its

silence,

of the Flying

speaks out from

the longing

...
finishes
like

and negated

after

rest

up as the composer
Beethoven

all

yet

sharp lines

chose
and

-18hard edges in his rooms in order to turn from the world

.
ideal demands have inoreasedy
inwards -*y
compared with
has become much more acute
'.59) while I lived
in

times,

former

and my sensitiveness
during the last ton years ('49 from artistic
public
separation
absolute
beyond all doubt that the sot of creating
alone

me and fills

satisfie$

I should

otherwise

is

It

life

I recognise

...
and completing
a desire of life,
which

m with

not understand'(6).

perhaps

to say that

a truism

modern artists
certainly
art looks

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

Abundance, ' renunciation

like

it

'Contracting-in

for

of the world

to

the abundant

life

of the spirit.
L

Sublimation

chemical

I use the word sublimation

sense, nor in its Freudian

a purely

unconscious

debased,

sense of conscious

into

process,

'Continue
the divine

realm

more unalloyed

to raise
of art.

or purer

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

not

in its

of psychic

pleasure

higher

energies

of the will.

the
renunciation
-

yourself
For there

to

more oommonp albeit

recanalisation

thus

strict

sense which refers

in its

but

directions

more spiritual

and higher

into

is no more undisturbed,

than that

Beethoven

which

advises

comes from

a fellow

he wrote 'For you, poor Be no happiness

for
You
from
everything
must
create
outside.
can come
ideals
in
the
heart;
in
of
only
world
and
own
your
yourself
'I have written
indeed friends'(2).
find
manyjworks
can you
I
by
nothing.
practically
can more
writing
have
gained
but
Schubert wrote:
direct
to
upvards'(3).
gaze
my
accustomed
recognition
of a miserable
is ... a period of fateful
'it
to
beautify
far
in
I
as
as
possible
endeavour
which
reality,
(thank
Cod)'(4).
imagination
my

-19_
'But thee,
In effigy
To soften

The fate

0 sacred art, the gods yet will

to pioture
anoient glory,
with the pow'r of song and story

Pain and suffering

artist's

of
the

development

about

Ani

this

and in
to

Christian

great

tion

the

which

his

Busoni

his

'admirable

wrote

of

test,

and feel

that
his

that

perfection,
upon

any of
suffering;

avoid

the

seldom

makes it

or

worthy

stand

bestow

then

will

latter

sharpens
joy

whereas

'Man cannot

complaining

achieve

Almighty

the

must

without

again

mind;

part

'Pain

wrote

a passage

wrote

strength

endure

and then

lessness

mystics,

respect

he must

says

the

in

the

with

are a necessary

and softens

Beethoven,

oan still'
(5)"

and have even become

- Schubert

a mystic.

former

the

frivolous'(6).
the

as'they

and strengthens

understanding

troubles

of

connected

the will

just

genius,

synonymous with
the

are often

to renounce

struggle

our present grief

whioh ne'or

is

worth-

perfec-

him'(7).

works of genius

in

arise

period ... it seems to me that of all these beautiful

lead
That
none
paths leading
so far afield
u ward'(8).
he recommends by this exactly
what the other composers and
their
mouthpiece Schopenhauer have recommended is made
every

in the following

apparent
is

the casting

of subjectivity
author

standing

'...

passages

A third

...
and the renunciation

off of what is 'sensuous'

(thee road to objectivity,
back from his

fire
trial
of
a
way,
(serenitas)
serenity

work,

point

which means the

a purifying

a hard

road,

and the re-oonquest

of
the smile of wisdom, of divinity

and water)

...
Not profundity,
and personal feeling
and absolute music.
but Music which is absolute,
distilled,
and metaphysics,
figures
ideas
a
mask
of
and
under
which are
and never
borrowed

from other

opheres'(9).

The reference

to The

the
apposite - only by purification
will
(i.
harmony
Flute
be
the
musics
e.
on
earth)
of
reign
have
theme
been
no
could
Mozart's
surely
nearer
accomplished,
Magic Flute

is

heart.

Wagner, writing
two models to follow

of his

in this

respects

first

I saw the modern world of nowadays a prey

Jesus,
then
that
to
surrounded
which
akin
recognise

this

longing

found

own purification,

in
truth
as
"
..

Christa

'Since

to worthlessness
so did

deep-rooted

I now
in man's

-20from out an evil and dishonoured

that shall answer to
reality
'I followed'Dante
Then Dantes
with

nature,
which yearns
sentient
Uinnliohkeit
towards a nobler
his

nature

purified'(10).

the deepest

sympathy

pure air.

I rose

the others

battled

last,

...

I relinquished
at the fire,
in
into
the
glow
order
myself

Beethoven

Undoubtedly
mind

level

of

vrotes

'only

gods'(12)

and

a higher
revealing
(13) respectively.

desire

all

to sink

of life,

my personality

of Beatrice'(11).

in the oontomplation

when they

the

morning,

deadened
by
step;
one passion after
step
till
of life,
with the wild instinct
at

arrived

and threw

the

the divine

I enjoyed

form

and Sohoenberg

art

and science

'musio
life

of

had this

conveys
towards

can raise
a prophetio

whioh

in
men to
message

mankind

evolves'

The fooling

'air from another planet',

of breathing
is
of inhabiting
a purer, detached region of the universe
'sad to relate
the
quite commonly experienced,
artist
...
is not

to be Jupiter's

allowed

unfortunately,

vulgar

down against his

(Beethoven)(14).

will

of the infinite

wings

humanity

only

from those

art

in Olympus every days

too often drags him

it

heights'

pure ethereal

I
of 'absolute'

in
price
-

Liszt

guest

'On the

musics

draws us with

it

to regions

in the ringing
alone can penetrateg*wherep
in
in
the
heart
shares
anticipation,
ether,
expands and,
life
that
inoorporealp
recalls
spiritual
an immaterialg
...
into

which it

to us the indescribable
inspires

that

cradles,

...
after

thirsting

that

recollections

inexhaustible

us with

all

that
with

rapture

surrounded

our

ardour of
the blissful

into
the
hold
that
takes
us
sweeps
of
us
and
experience
.. o
us out
turbulent
maelstrom of the passions which carries
life'(15).
beautiful
into
harbour
the
more
of
a
the
world
of
Wagner - of
in the transport

awe we drink

when, circled
Thinker

felt

myself

outside

with

in upon the summits of the Alps,

a sea of azure

hills

and valleys.

olimbsq

and on this

the lower

'I

aether whiohg
and mid a saoredg limpid
filled
me with that
of my solitude,

the modern world,

delicious

'Tannhlluser'$

air,

we look

down upon

Such mountain-peaks
height

imagines

he is

the
'cleansed'

-21r

is

that

from all

the topmost

earthly,

branoh

of the tree

of

man's omnipotenoel(16).
'talking

Saint-Saens,
'All

those

who have coaled

impressions

of muaioal

experience

know the special

the heights

there,
to which they give birth;
is nothing but rocks and glaciers

where there

where life
oeases,
in the limitless

of immense, superhuman happiness;

a sort

azure,

generallys

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

possession-of

entering-into-

to the noise

returns
only

then is

thing

'Unfortunately,

wrotet

oneself

and confusion
to think

oneself

this

wonderful

is undone the moment one

of everyday
back into

life.
that

The
blissful

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

'to

Messaient

the doors

of our prison of flesh,

water for which it thirsts,

spring

artist

a great
great

Christian'(19).

of the will,
supremely

be both

vho will

as'a

raise

upon the mountain

to give

our century the

shall have to be

there
a great

He must be both
person,

and a
artisan
pure in his renunciation

and as a musician

he must be

skilful..

8.
Eden
the renunciation
and the passions,
of the will
inward-moving
instinott
death
Preud's
predominantly
If

exhibits

briefly
to
turn
consider
aside
we must now
aggression,
half
Freud's
the
to
of
that
other
corresponds
attitude

the

Just
instinct.
the
Eros
as we saw there
namely
Thanatos,
by
there
is
idealism
of
way
so
attainable
was an
Eros.
instincts
by
Both
idealism
of
way
attainable
also an
in
from
debasement
themselves
to
every
phase
may manifest
division,

metaphysics.
Yeats symbolised

the two idealisms

by two, wells;

-22the dry well

which

has a dried-up

fills

rarely

and with

standing

nearby

represents

only

tree

difficulty

and

complete

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

of Being,

Unity

represents

that

of existenoep

planes

harmony within
of integrated

the two
personality

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

whom he compared himself

with

'Shelley,

he saidr

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
Rosetta

He
and he saw an earthly
paradise
wrote
...
(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

trees

ideal

We may sense this

Liszt

quotes

"that

faraway

strangest

'To Hoffman,

approvals

country

which

waking
breasts,

surrounds

music revealed

us often

all

which echoes,

with

fiery
in
though
rays,
gladly
ups
as
and
of that paradise"(2).
us sharers in the bliss

wish
land

he cannot

ideal

the ideal
sensual

making

in that

who dreams of happiness

far-off

sen3e'(3).

French
only

call

$is the bmbodied

to Wagner, Lohengrin

of the yearner

the

awakened now, shoot

joyfully

According

whom

and from which wondrous voices

the echoes that sleep in our

presentiments

down to us,
restricted

with

in E. T. A. Roffman,

mentioned not
composers have frequently
of beauty and human happiness but also the

worlds

'Musio,

and music alone,

has the

imaginary

that
scones
real yet
power of evoking
birth
in
to
the
secret
gives
mystic
which
world
elusive
the
thousand
the
nameless sounds of
and
night
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

'It

writes

is

a glistening

inusio we cook,

to the aural

sense voluptuouoly
refined
pleasures'
'oharm,
the
to
of
at once voluptuous
and goes on
speak
and
he
the ideal sensual
associates
which
with
oontemplative'(6)
nest
111,
tout
qu'orcbo at beaute,
world ...
Luxe, calme at volupta. '
giving

the ideal

For Berlioz,
any other

with

shone in the rising

glaciers

far

Meylan;

over

those

highest

and best;

for

the clinging

for

loves

Naples,

Posilippo

for

the wings of a dove,

body!
Ohl for life
at

for

for

rapture,

of hot embraces!

clasps

Here was

sun.

Italy,

lay

mountains

Ohl
the whole world of my story.
to leave this clogging
earth-bound
its

an
'On the horizon

at the age of sixteens

experienced

ecstasy
the Alpine

than

was more closely

sexual
here he describes
composer of our period;

Love!

ecstasy;
glory)

where

is my bright
0 my heart? my Stella
Montis? '
particular
star,
And in 1858 he wrote to Ferrands 'Last night I dreamt of
this

music,
those
forth

supernal ecstasies
...
to those
as I listened

radiate

it

I recalled

morning

All

alcne

'So sings

Michael

of the empyrean,

he dreamily

the tears

divinely

from the angels

great

and fell

all

into

one of

of my soul

sonorous

poured
that

smiles

...
upon the threshold

asp erect

gazes down upon the worlds

beneath.
have I not

'Whyq ohs why!

I, too#

could

sing

this

archangelio

that

auch an orchestra
song'(7)!

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

the former
cation.

with

of romantic

'My dream',

with

category
it is a brief

literature

assert
its

The sea repeats

that

Schubert

itself;

also

belongs

as he does elsewhere

to

emphasis

allegorical

on pain and purifitale,

fairly
typical

yet undoubtedly,

knowing Schubort,

-24deeply

sinoere,

home to find
funeral

describing

ideal

love

how he waa twice

to that'oirole,

they

with

slow steps

and lowered

firm

belief,

however# can load

a miracles

I was aware of it,

I found myself
lovely
sound, and

in the circle,
a wondrously
which uttered
bliss
I felt
though
wore gathered
eternal
as
a single moment.
He took me in his

you

But I wont to the gravestone

gaze, filled
with devotion
and

said.

and before

from

at the mysterious

and reconciliation
'Only

of a maidens

banished

My father

too I sax,

together

into

and loving.

reconciled

But not as much an I1(g).

arras and wept.

2.

Intimations

The power of art

fundamental

of course,

a few testimonies

in previous

sections

divine

iss

'Ketaphyeioal

eta. )

is

always

(1)

on 'Noses and Aron'

in an article

artist

of things

and in this section

(not that they have
together

are gathered

Hans Keller,
'the

to intimate

to our topio,

boon altogether
absent
'Sublimation'
Ordert'

wrote

Divine

of

traitor

a potential

to the

...
the bond between appearance and essences
ultimate
secret,
between man and Godt his dilemma is that he must and must
('Sei
three spirits
it
verschweigen'
warn
not reveal
The dilemma often

Tamino).
its

times

par excellence.

art

in musiot

solution,
'

which

He then quotes

the second of Four Pieces

'You shall
You shall

its

reaches

for

olimaxt

and some-

is

the metaphysical
text
Schoenberg's

mixed chorus

for

Op. 27,

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

is

also

in direot

but
Aron,

is

the central
contaot

with

theme of Moses and Aron.

the Unspeakable,

by
pure musio,
aooompanied
on the other

hand,

translates

absolute

Moses

he does not
musical

and falsifies

sing

ideas.
the

-25message to the people]

he sings

colouring

and dance rhythms.

to colour

the truth

loft

Pu,,
unfinished
uaalm
'And nevertheless
I pray

not want to lose

unity

is

The dilemma

tial

is

musio

not

ballot,

and also

sidered

that

converses

in

of one-ness#

have

sensed

true

or

effeota'(2)

'the

and

language

a special

for

was required

'I

Latin

of

referen-

'The

of

aristooratio
in

classical

have

always

that

of

and not

oon-

current

on the

touching

subjects

as by

that

writing

he so much admires

his, use

of

as non-referential.
in

thing

of

itsforms'(3)

of

austerity

sort

many coloured

of

absence

and

by many as aoutely

felt

not

as profound

means this

Stravinsky

act unwritten,

feeling

many 'purista'

though

Sohoenbergp

refused

at an exactly
parallel
place (last words set) because I do

the rapturous
(unset).

you'

with

the third

in

rich

Because Schoenberg

he left

his

to an orchestra

sublime'(4).

Kahler's

'All

quotes$
inadequate,

that

in their

is

in vain

is

it?

but

manifestations
inadequaoyg

they

than need no paraphrase,

no
them; there is done what here

and we shall

or images for

similitudes

earthly

from the body of earthly

be actual,

will

is

naturally

therep, freed

was found in Goethe, whom he

is nothing but images,
transitory

belief

described,

Again I can only

is

it

for

reply

indescribable.
in imagery

And what

and says

The

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
is
it
humanity
to
this
of
epoch
which at
conception
feminine

eternal

possible

to attain'(5).

ideal of
enticing
said of this eternally
felloxas
'Like
his
intimate
to
he
a somnammust
which
(goals)
(composer)
them
toward
he
bulist
he
wanders
(it may skirt
doesn't know which road he is following
Mahler

dizzy
whether
enticing

abysses)
this

but

he walks

be the eternally

toward

the distant

shining

stars

light,
or an

will-o'-the-wisp'(6).
For Sohubert,

great

works of art

$chow us in

-26-

the darkness
for

life

of this

o bright,

which we may hope with

moments brighten

this

Beethoven

life:

that

worlds

$Tho true

ones still

is

will

and so on'(8).

T
has'no

artist

has no limits;

art

how fsr'he

vague awareness'of

these blissful

and happier

happier

wroter

He sees unfortunately

up there

joy,

distance,

'Blissful

oonfidenoe'(7).

dark

moments become continual

turn into visions
of yet

lovely

olear,

pride.

he. has a

from reaohing

his

goal;

be
may
perhaps
admiring him, he laments
others
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

'The artist

wrotes

the

must scrutinise

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
future,

on and if

sometimes

and still

press

he etumblea

on'(10).

and Schoenberg

Busoni

Hindemith,

knowledge

a craftsman

there

for

reason

conviction

that

a region

like
humility

this

beyond all

he has amassed and all

is

him get up
passages by

the Infinite

humble before

-Beethoven,
be the musician's
will

let

There are similar

(Jacob's Ladder).

'The ultimate

wrotes

rational

and falls,

his

the

dexterity

as

irrationality

of visionary

in which

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.
hei
armed with wisdom and gifted
and
with
granted
for
has
the
it
Heaven
the
unknowable#
man
whom
reverence
blessed with the genius of creation,
we may see in him
of the precious present
time'(ll).
our
of
music

the donor
great

more daring

Busoni,

yet,

we all

long for

vriteas

$If

be the realm "beyond the Good and the Evil"

(in
is
here
his
thither
pointed out
leading

in

the

Nirvana

one way
'New Esthetid).

To the bare that divide Man from

A way to the very portal.
to
that
temporal.
that
open
Eternity
admit
which
was
or
Not the strains
Beyond that portal
of
sounds music.
'musical

art.

'

It

may bei

that

we must leave

Earth

_27_
that

to find

from earthly
shaokles,
shall the
(Sohoonberg has said 'It seems that the

bars be open'(12).
is

'the

away' -

H. who wants

a limit.
love

who has suooeedod

himself

on the way in freeing

Ninth

to the pilgrim

But only

musio.

to go beyond it

must parse

of the god means death. ')

felt

Schumann and others

'music

that

is

always

the

it
in which one can converse with the beyond'(13),
Faure,
is not of the beyond and yet it can intimate
of it.
'an
tolling
bellsv
distant
the
of
evening
muses,
recalling
does
in
fact frequently
this
incident
promote a
as
such
torpid
state of mind, and a very agreeable one, in which
language

merge imperceptibly

thoughts

into

out to that

this

moment reaching

fact

where music begins'(14).

each other.
other

world?

Mahler

of the life

said

Are wo at
this is in

'all

my works

to come'(15)

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

to reality;

for

find"a

new light

musics

mysterious

of music
on the relation
as it is, often illumines

that
feel
lightning,
will
and
you
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
this
formula,
and
no
oubstance
a
a shadow with
...
...
...
a flash

our souls

is

that

a conviction

reason.

can hold

I write

rather

its

own at the bar of sober

on the subject

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

with

Schopenhauer

the true

again propounded, and the beyond is

in
is
and
seen
which
glimpsed on earth
is

reality
in
full
renunciation,
clarity
is,. denied
the full
vision
the same reason that
denied'(l7).
be
to
are
circle
'for

The definitive

or death.,

But at present

use as Charles Ives said,

the beginning
and end of a

statement

upon art

as an

from
the
Wagner,
divine
the
aged
come
must
intimation
of
the truly
0 "Complete contentment,
1880e
in
writing
in
but
to
themselves
us
present
never
state,
acceptable
in
Music.
kt
Poem,
From
the
Arty
the
in
which
image,
an
one surely
they exist

derive

might
in Booth"

...

the confidence
the starting

that
point

somewhere
of very

-28inferenoes.

serious

likoneaa'

The perfeot

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
it
lacks
the
while
a
uupport of a
revelation
such
'But

for

moral
symbol of the most perfect
through which alone can it be truly

religious
world,

the peoples
the likeness

by borrowing

only

of the Divine,

The divinity
Ftfnklein

Spark

the

divine

divinity

the

of

inner

for

it)

is

the

composition.

of

of

part

by two great

ones,

to this

renunciation,

but

and formative

in a statement

and to hie

life

up

to pure

words$

Syntereoia,

it

has

in

man wHoh

Belief

in

element

seen by

was held
in

explicitly

whose

thoughts,

role.

of belief

of the

pursuit

these

wrote

the

and Wagner,

Beethoven

Beethoven,
both

this

theology

as we have

man was held,

an important

(mystical

Soul

by many composers;

played

hold

'the

self,

the

implication,

it

itself

ezoersise

can the artwork

the

of

many names and symbols

creates

from life's

of

and redemption'(18).

contentment

or

understanded

lead us out beyond this

and holding

to life,

of the

ordering

pertinent

'difficult

'U's finite

of

way'
beings,

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
is

striving

infinite,
his

finito'(20),

as 'our

but vulgarity

vexation
his

with

frequently

to music in such remarks

refers

joy

with

makes everything
drdly life
contrasting

in the life

of

'the

divine

element

in man'(21).
And Wagnerr
primal

source

deepest,

and sole

holiest

Applying
particular,

inner

this

he writes'

'Religion
true

lives,

...
dwelling-place,

but

only

within

at its
the

chamber of the Individual'(22).

to musics the 'sea
'The eye knows but

of harmony'

in

the surface

of

-29this

its

seal

depth

the depth
into

Man dives
more, refreshed
heart

feels

this

depth,

bottom
thus

is

It

her

the

'Music

holds

in

their

transports

...

soiousness

of

our

Finally,

eye

most

the

the

already

Fulfilled.

nature

shrine

infinite

the

and her

grasp

the

its

within

us to

can only

than

other

herselft

unfathomable

Begetting,

Begotten,

the

none

Man the

her

man's

Blossom,

which

and love

eye of

Seed-time,

however,

itself,

desire

prying

because

oven

is,

of Nature

eternal

manifested,
Nature

the depth and infinity

the

from

? earning;

possibilities

whose
eye shall never plumb, whose seeming bottomlessness
him with sense of marvel and the presage of

fills

womb of

..

when he pears down into

unimaginable

pregnant

Infinity.

heart

and radiant,
with

can fathom

alone

seal only to give himself

once
to the light
Big
of day.

this

widened wondrously,

his

who veils

of heart

the

of

This
the

human

feelings

of

capaoity'(23).

highest

ecstasy

of

con-

infinitude'(24).

combines the ideas of infinity,

timolessnoss
in this enraptured,
and immanence of divinity
'All,
heard
yet exact assertion
offhiths
all melodies,
Dusoni

before

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

the rhythms,

all

by all

coloured

by all

kinds

of soundsp

how
Now
planets
realise
you
...
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).

accompanied

harmonies

10
Divine
it

To oonoludej

Intervention
would be fitting

to the final

and most Qystioal

intervention.
divine

of direot

A belief
composition
and Bruoknerq

that

was hold

to draw attention
that
phase of inspiration,

the hand of God has assisted

by naive

and sophisticated

Schumann and Schoenberg.

alike,

the
Haydn

-30. If

Haydn said,

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

wrote

story

is

Soli

at his last
of The Creation,

told

that

a performance
there

was the loudest

scores.

The

appearance, to hear
'And there van light'

public
after

'Haydn made a gesture

applause.

the hands heavenward

took his

at the end of his

Deo Gloria

of

"It

comes from there. " - He

eyes, and stretched
out his

and said,

leave

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

'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?
Schoenberg

thinker

said,

assist
'From my own experience
received

consciously

foroe'(4)

gift

Such references
(Tchaikovsky),
(Hindemith)

inspiration
the literature,

I know that

it

can ... be a subfrom the Supreme Commander'(3).

to our topic
the

as 'a supernatural

'supernatural

eto.,

are scattered

origin'(5)
widely

of
through

the glory to
God alone are found in the scores of many (Haydn, Mozart,
Weber, Bruckner,
Messaien and
Dvorak, Elgar,
Liszt,
Stravinsky

and inscriptions

assigning

)
few
them.
are a
of

I have collected
some
in the section
intervention
to divine
statements
relevant
The Gap (p. 32 Pt. I) and for further
entitled
evidence I

refer

the reader

to this.

Thu3 in perceiving

the

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

Formal

aluok, Colleoted
Marie-Antoinette,

Poetioo,

3
4A

IDEAL

Order

Correspondenoe,
July 1774.

dedicatory

to

p. 77"

{
1779.

to TonktlnstlersooietltpVienna,

naydng Letter

World,

Composer's

III.

chapter

p. 76.

Poetiost

Ibid.,

Weborn,
January

Towards
1961.

Busoni,

The Essence of Muaio,

Copland

on Music.

10

Casella,
January

article
1928.

11

Interview
by M. D. Calvocorreesi
16 July 1931.

12

Letterap

13

Stravinsky,

14

Ibid",

15

Poetical

16

Ibid.,

17

Stravinsky,

Memories and Commentaries,

18

Expositions

and Developments,

19

Ibid.,

p. 102.

20

Style

and Ideas

21

Ibid.,

p. 979

22

A Composer's

23

'Composition
'
in
Twelve
Xotes;
Rufar
Joseph
by
with
doted
to
Prinoe
Berman
PtioklerArnim
von
reporting
Bettina
von
Goethe
Teplitz.
Beethoven's
meeting
with
at
Muskau on

24

Lettern,

p. 1405-

25

Poetioe,

p. 41-

26

Prose Works,

63.
p.
a New Music,

translated

in

The Score

p. 180.

The Cheaterian

On Inspiration,

in Daily

Vol.

XI

Telegraph,

p. 373of my Life,

Chronicle

p. 185.

p. 29.
P. 51.
loo*

oit.
1959.

1962, p. 101.

p. 56.

World,

Vol.

chapter

Il'

III.

The Art-Work

of the Future,

p. 77.

'harold$

27

Berlios
Liszt,
and hie
854oit.
p.
op.

28

Musical

29

Sketch

30

The Essence of Kusio, article

Present Time? P. 44.

31

Musical

32

Recollections

Symphony, quoted

Strunk

p. 28.

Thought,

of Music.

of a New Esthetic

What is happening

at the

p. 51-

Thought,

p'. 76.

and Reflections,

d'Indy,

Le Bon Sens, Vincent

published

1943 Liege.

33

Essay,

34

Mozart's

35

Stravinsky,

36

No. 39 August 1959, John Cage,

Musioali
Inoontri
'
Nothing.
p. 131on

37

Schoenberg#

38

Letter

39

Inoontri
Musioali,
La nuova sensibilita

40

Musical

41

Chronicle

42

Conversations

43

The Essence of Music,

44

Skutbh

228b.

Lotterst

p. 50.

Poetics,

p" 109.

and Idea,

Style

'Lecture

1923.

to Hauer,

Thought,

No. 29 May 1958, Henri

musicale,
p. 4.

Pousseurp

p. 36-

of my Life,
with

p. 91.
p. 132.

Stravinsky,
p. 34-

of Music.

of a New Esthetic

2.

'Let

there

be

Unityt

to Goethe,
Briefe und Gespraohe p. 146, Bettina's
report
her
him,
the
extraof
on
strength
she
assured
which
quoted by
memory,,was very nearly verbatim,
ordinary
'
3. Langer in 'Form. and reeling.
2

Letters,

Style

'4p. 323.
and Ideal

Composition
with

with

Stravinsky#

Twelve Tones,
p. 108.

Conversations

Poetics,

Memories and Commentariesp

No. 1. Dec. 1956, Karlheinz

l(usioali
Inoontri
di
'
musioa
elethronioa,
p. 70.
a proposito

Epilogue,

1941.

p. 140.

ti
p. 106.
Stockhauseng

and Idea,

Brahma the Progressive,

Style

Sketoh

10

Copland on kusio,

11

Musioal

12

Towards a New 2(usiop The Soore,

13

Musical

14

'Harold'
his
Berlioz
and
Readings, p. 854-

15

Quoted in Josef

16

Schopenhauer,

17

Memories and Letters,

18

Lyriohe Gedichte,
in the Eighteenth

of Musio.

of a New Esthetio
'Mueio

as an Aepeot of the Human Spirit.

p. 110.

Thought,

Symphony, quoted
'Composition

Rufer's

letter

dated

World,

Twelve Notes. '

trans.

Haldane.

-.

Order

'Self-Criticism',

p. 49-

V.

chapter

Poetics,

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

p. 140-

Platonio

article

Ideas

Recollections
and Refleotions,
1940, p" 113-

The Essenne of Music 1924,

Letter

to Mathilde

Source

June 1909.

Epilogue,

Strunk,

17499 Uz. Quoted in 'European Thought

22.
Hazard,
Century'
Paul
p.
-

The Essence of Music,

Composer's

with

and Idea,

The World as Will

Metaphysical

2A

1961.

Thought.

Jan.

title

'On Inspiration
essay,

in Nusio'

p. 200.

Wesendonokp Lucerne, 4 April,

1859"

'

rI.

Aspiration

Letters,

p. 350"

Berlioz

The Life

National

Musiol

Letters

to Marie

Hegel, The Philosophy

Vol. Is p. 154.

Style

Berlioz,

of Hector

p. 271-

I.

chapter

zu Sayn-Wittgenstein,
of Fine Arts

p. 233F. P. B. Oomaston,

translated

and Ideap p" 36.7

Berlioz
and his 'Harold'
Readings, p. 855-

Symphony, quoted

Style

8ohopenhauerl

10

Leonardo

11

Correspondence of Wagner and Liezt,

September and December 1854.

and Idea,

II

chapter

'Gustav

The World as Will

da Vinci,

Strunk,

Source

p. 26"

Mahler',

and Ideas

trans.

Haldane.

Notebooks.
letter

betwaen

written

f
12

Prose Works, Vol. VIII,

(Programme note 1860),

13

Edgar Wind', Dellini's

14

A Documentary

Prelude
p. 385.

und Isolde

to Tristan

Feaot of the Gods, Harvard

'Xy Prayer',

Biography,

19489 p. 61.

1823 seotion.

6.

Refuge

Cyril

The Philosophy

Letters,

Felix

Ibid.,

prose Works,

Correspondence

moving into

Soottt

of Modernism,

p. 1.

p. 1320.

Nendelesohn, Letters,

30 November 1839-

January 1843Vol.

'A Communioation

of Wagner and Liszt;

Aquarius,

title

of third

to my Friends,
January
essay.

1859.

' p. 307.

Sublimation

804.
p.

ootboven,.

Lettaro,

Ibid.,

p. 254.

Ibid.,

p. 1135.

4A

Dooumentary
FerdimmA.

Ibid.,

1024 sootion.

Ibid.,

Lost

Lottorat

Sketch

The Essence of Musiop Letter

1920, p. 21.

10

Prose Werks, Vol.

(1851), p" 379-

11

The Correspondence

12

Letters,

13

Style and Idea, chapter

evaluation
of music, '

14

Lottere,

15

Berlioz
and his 'Harold'
Readingog p. 850.

16

Prose Work.o
p" 339.

17

Co Saint-3aenag

18

Memories and Letterev

19

The Technique

Biography,

1824 aootion,

lettor.

to

of 1824"

notebook

633p.
of a flew Esthetic

I,

of Kunio.
to Paul Dekker,

publishod

'A Communication to my Friends'

June 1855.

of Wagner and Liest;

p. 376.
'Criteria

entitled

for

the

p. 1079.

Vol.

9ouroe

Symphony, quoted 13trunk,

I 'A Communication to anyFriendo'

Problemea at Mystore$,
letter

of my Uusioal

p. 20.

dated September 1908.

Language,

Pretaoe.

A.

Eder

(1924),
Esaayn
Yeatet
w. D.

Liszt,

Prose Workag Vol.

Berlios

and his
I

67.
p.

'Harold'

Symphony, Strunk

'A Communication

851.
p.

to my Friends'

P. 336.

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

(artiolea
abuse y-

Ibid.,

The Technique

The Life

Ibid.,

9A

Diletthnte

Hater'

p. 9.
Langu&je,

of My Musical

p. 120.

Berlioz,

of Hector

Preface,

p. 255biography,

documentary

118221.

section

si

Intimations

0otober

1957.

The 3oore#

Chronicle

Ibid.,

p. 164-

Ibid.,

p" 205.

Memories and Letters)

Letter
to Anton Seidi,
op. cit.
p. 311.

7A
8

Ibid.,

Letters,

p. 220.

of my Life,

documentary
diary

Divine

of

June 1909.
17 Feb. 1897,

biography,

16 June 1816.

diary

8 gept.. 1816.
,.

Ps 376.,
dalle

dated

letter

Lettere,

10

Autobiographie
to V. Torrelli.

11

A Composer's

12

Sketch

13

18321 quoted Maroel

Letter
to Ritzhatlptg
and the Romantic Age, p. 321.

14

to his wife$ 11 Sept.

Letter
C]d p. 149.
The Literary

15

Quoted by Kosoo Corner in article

(Men and Music, London 1944)"

16

Memories and Letters,

17

Charles

18

prose

19

Letters

20

Letters,

21

Ibid.,

Morgenstern

quoted

World,

Ives,

of Music.

1906,

trans.
'Kahler

letter

to wife,

Essays before

a Sonata,

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

words.

concluding

of a New Esthetic

23 Dec. 1867

VI9 Religion

and Art,

Brion,

Schumann

E. Lookapeiaer,
in his

Letters'

5 Dec. 1901.
(Now York,
p. 261.

1920) p. 81.

(1864),

22

Prose Worka, Vol.

IVY On State

23

Prose Works, Vol.

I1

24

Prose Works,

25

(of.
Boules on indeterminism
1910.
Wife,
Letters
hie
to
in
is
the
'this
immersed
uncertainty
perhaps
only
periplus
'
Inoontri
Infinite.
Nuaioali
fix
the
to
try
way
and

and Religion

'The Artwork

Vq Beethoven,

Vol.

of the ruture',

p. 29"
p. 112.

p. 77.

No. 39 p" 15)"

10.

Intervention

Divine

Joooph Haydn - Grieainger'a

Ibid.,

Style

Weinstock,

5A

p.

Biographicohe

Notizen,

p" 54"

49"

and Ideal

pp: 71 and 109.1

p. 171,

Composer's

World,

letter

dated March 1878-

Ch. VI.