From Grieg to Brahms: Studies of Some Modern Composers and Their ArtMason, Daniel Gregory
History
From Grieg to Brahms: Studies of Some Modern Composers and Their Art
Mason, Daniel Gregory
Composers -- Biography; Music -- 19th century -- History and criticism
Lack of emotion, then, is the serious defect of this master. And in
a musician it is in truth serious. Emotion is the life blood of the
musical organism; without it all the members may be shapely, well
ordered, highly finished, but all will be cold and lifeless. So it is
with much of this clever craftsman's work. Too often there is graceful
melody, arresting harmony, ingenious rhythm, but none of the passion
needed to fuse and transfigure them. Impassioned vocal utterance,
the song element in music, is seldom heard from Saint-Saëns. In the
classic works he manipulates, in the exotic pieces he depicts; nowhere
does he speak. But to speak, to voice deep feeling directly, though
with the restraint necessary to plastic beauty, is the aim and the
justification of music. Complex as the art has become in our day, the
essence of it is still, as it ever must be, emotional expression; and
though modern composers sing broader songs than the first musicians,
and sing them on instruments rather than with the voice, they must
equally sing, and their song must proceed from their hearts if it is
to touch the hearts of others. Hence Saint-Saëns, when compared with
a man of passionate earnestness like César Franck, or Schumann, or
Wagner, inevitably seems superficial. Pieces like his B-minor Violin
Concerto, with its elaborate classical machinery, its well-planned
contrasts and brilliant effects, and the vast Symphony in C-minor, in
which the theme undergoes such wonderfully skillful manipulation, seem
so little the expression of a personal impulse that we catch ourselves
wondering why he wrote them. Elsewhere, to be sure, as in the Andante
of the 'Cello Sonata, his very virtuosity achieves such noble effects
that we forget the hand-made quality of the work. But it is seldom
indeed that, subordinating workmanship entirely, he gives us a genuine
song of feeling, such as the second theme of the Finale in this Sonata.
The lift and impetus of this beautiful theme emphasizes by contrast the
emotional emptiness of the ingenious web that surrounds it.
Public-domain text, read in full here on John Shaqi.
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