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
A just conception of this broad scheme of Brahms's ideal and of his
thoroughness in working it out is necessary, we must insist, not only
to appreciation of the man himself, but to any true understanding of
his relation and service to music. Brahms was enabled, by the tireless
training to which he subjected his fertile and many-sided genius, to
couch romantic feeling in classic form. In order to grasp the full
significance of such a work, it is necessary to bear in mind those
fundamental principles of musical effect and facts of musical history
which have been presented in the Introduction. Music has resulted from
the gradual formal definition, by time and pitch relations, of those
vague gestures and utterances by which men expressed their primitive
feelings. It has been, in a word, the product of two human instincts,
neither of which alone would have sufficed to produce it--the instinct
for expression and the instinct for beauty. But these instincts have
not worked with precisely equal efficacy at all times. In fact, so
limited is human attention, so few things can men attend to at once,
every great development of expression has generally disturbed the
equilibrium requisite to beauty, and every great advance in beauty has
generally, for the time being, restrained the eloquence of expression.
Musical history is a series of reactions between man's primal emotional
impulse and his desire for intelligibility. First, urgency of feeling
drives him to a formless cry; then the wish to be understood and the
love of beauty induce him to formulate this cry; finally, as soon as
the formula is felt to be inadequate to further expression, it is
discarded in favor of one more elastic and complex. The conventions
that are helpful at one stage prove hindrances in the next. The same
forms that subserve growth up to a certain point, beyond that point
hamper it. Accordingly, in the history of music, formulation has always
been followed by relaxation of the formulæ to admit of new expression;
and when new expression has been thus evolved, a new and more complex
form has had to be worked out to regulate and fix it.
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