But of all modern musical critics, perhaps Richard Hamann is the most desperate concerning the work of recent composers. His book on Impressionism and Art entirely supports Nietzsche's condemnation of the drift of modern music, and in his references to Wagner, even the words lie uses seem to have been drawn from the Nietzschean vocabulary.[36] Briefly what he complains of in the music of the day is its want of form,[37] its abuse of discord,[38] its hundred and one different artifices for producing nerve-exciting and nerve-stimulating effects,[39] its predilection in favour of cacophonous instruments,[40] its unwarrantable sudden changes in rhythm or tempo within the same movement,[41] its habit of delaying the solving chord, as in the love-death passage of Tristan and Isolde,[42] and, finally, its realism, of which a typical example is Strauss's "By a Lonely Brook"--all purely Nietzschean objections! Well might Mr. Allen cry out: "Oh for the classic simplicity of a bygone age, the golden age of music that hath passed away!"[43] But the trouble does not end here; for, if we are to believe a certain organ-builder, bell-founder and pianoforte-maker of ripe experience, it has actually descended into the sphere of instrument-making as well.[44] [12] Okakura-Kakuzo, _The Book of Tea_, pp. 112, 113. [13] _The Book of Tea_, p. 112. [14] See in this regard _B. T._, pp. 54, 55. [15] _Z._, II. XLVI. [16] _G. E._, p.121. [17] _W. P._, Vol. I, p. 55. [18] _D. D._, Aph. 169. [19] This is such a common fault that it is superfluous to give particular examples of it, but the New War Office in Whitehall is a good case in point. [20] Local Government Board building; Piccadilly Hotel (Regent St. side). [21] Piccadilly Hotel (Piccadilly side), and the Sicilian Avenue, Bloomsbury. [22] New Scotland Yard. [23] Gaiety Theatre; the new Y.M.C.A. building, Tottenham Court Road. [24] Local Government Board. [25] Gaiety Theatre. [26] Marylebone Workhouse. [27] See Fergusson's Introduction to his _History of Modern Architecture_. [28] See W. Morris's _Address on the Decorative Arts_, pp. 18, 19. [29] _Trois crises de l'art actuel_, p. 243. [30] _The Student's Musical History_, p. 1. [31] _History of Music_, Vol. II, p. 927. See also _The Student's Musical History_, by Henry Davey, p. 97. "Weakness of rhythm is the main reason of the inferiority of the romantic composers to their predecessors." [32] _History of Music_, p. 1195. See also P. v. Lind, _Moderner Geschmack und moderne Musik_, in which the author complains of the excessive virtuosity, want of faith and science of modern music, while on p. 34 he, too, calls all modern musicians romanticists. [33] See especially _C. W._, pp. 59, 60. [34] _W. P._, Vol. II, p. 276. [35] _Moderner Geschmack und moderne Musik_, p. 54. [36] Der Impressionismus in Leben und Kunst. [37] _Ibid_., pp. 53, 57. [38] _Ibid_., p. 64. [39] _Ibid_., p. 67. [40] _Ibid_., p. 69. [41] _Ibid_., p. 74.