THE MUSIC WORLD.

Press, Volume L, Issue 14987, 6 June 1914, Page 5

THE MUSIC WORLD.

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In a fascinating volume by G. Lowles Dickinson on 'The Greek View of Life," a chapter is devoted to "Music and the Dance," which, in view of the recent fanciful revival of the forgotten art by Miss Maud Allan, is of special interest. In defining their aims and tho significance they attached to the sisfcer-arts in the moulding of their civilisation, ho rightly insists that tho Greek term of "Music" implied the cooperation of music, in the narrower sense, with dancing and poetry, and that as such it ; 'was the centre of Greek education." By its aid were formed, as was assumed, the mind and temper of the citizens, and, therefore, logically, the constitution of State. Plato goes so far as to reason that r 'i*ue introduction of a new kind of music must be shunned as imperilling the whole State." It is clearly shown that tho standard of Ancient Greece m music was as much ethical as lesthetic, and tho style of music, was important, and its value appraised not only by the pleasure to bo derived from it, but also by tho effect it tended to produce on character. Mr Dickinson quotes tho precise arguments of Aristotle bearing upon this contention. •'Virtue," says tne sage, "consists in loving and hating (!) in a proper way, and implies, therefore, a delight in the proper emotions; but emotions of any kind are produced by melody and rhytEm. Thus by music a man becomes accustomed to feeling the right emotions. Music has consequently the power to form character; aud* various kinds of music, based on various modes, may bo distinguished by their effects on character —one. for example, working in the direction of melancholy, another ot efleruinacv; ono encouraging abandonment, another self-control, enthusiasm, and so on. It follows that music may be judged, not merely by tho pleasureit gives, but by tho weight of its moral influence. Pleasure, indeed, is essential, or there would be no art; but the different kinds of pleasure given by different kinds of ir.usic, aro to bo determined not merely by quantity, but by quality." As Plato puts it, -the excellence of music is to bo measured by pleasure. But tho pleasure must , not be that of chance persons; tho fairest music is that whichdoliglits the best and tho best educated."

The intimate union of melody, verse, a"d danco provided that the special emotional meaning of the tune and rhythm employed was lucidly seconded by the accompanying words and gestures. Plato characterises a tendency, in his own time, to separate melody and vorso as a want of true artistic taste; "for it is very hard, in the absence of words, to fathom' the mood which the rhythm and tune is supposed to convey." The determining effect ot words was further enhanced by the aqjoompauiment of tho dance and brougnt home to the eye by cesturo. poso, and beat of foot. "It imitates," says Aristotle, "character, emotion, and action.

"Virtue," continues our author, was denned a3 a harmony of the soul; thelnusical end becomes thus identical with the ethical one. Music was not prior to beauty, nor beauty to virtue; they presented two aspects of the same reality." The "good" ami tho "beautiful" meant on© and the same thing; that is to be regarded as the first and the last word of tho Greek ideal. These deductions contain a wealth.' ot food for reflection.- Certainly nothing was. left to imagination, as wo sec, in tho pursuit of the Greek ideal. In its then primitive state of development, music, single-handed, could not aspire to act as the solo instrument of emotional exprefßion. The association with the sister-arts thus commended itself naturally and irresistibly. Miss Allan, trusting to the 'nitnenscly increased power of suggestion achieved in modern eliminates the spoken word. But with all the vividness of her portrayals, one could not help feeling that for a large unimaginative section of the public, a definite programmatic sketch, of her artistic designs would have greatly helped to the appreciation of her performances. She herself admitted it, and regretted the omission, which was contrary to Jier usual practice.

Some interesting letters written by Leschetizky, the world-famous teacher of tho piano, have recently been published in tho "Musical Courier/ one of the leading New York music-papers, from which I extract the following sentences:-—

"I am personally against any fixed principle :n instruction; every pupil must, in my opinion, be differently according to circumstances. Therefore I could never make up my mind, to publish a piano school, since such a work would logically demand-a definite line of work, which would need to_ bo closely followed. In general I think that far too many schools and i theories for the development of piano technique have already been published, which fifty years ago did not exist. The great virtuosos, then living, ha-d qttito as good a technique as those of the present ago. Its application has become more general, but not with greater results. An epoch which had as contemporaries such artiste as Liszt, Thalberg, Clara Schumann, Rubinstein, Hehsclt, etc., has not come again. While there arc many moro people who play well, even very well, yet the ranks of the pianist,; of' the first order aro no more crowded than they were in the time of the Messiah of the iiiano— Franz Lisst." I have repeatedly commented from my own standard upon the bold attempts on tho part of aciho schools to make it appear as if tho highest art in piano-playing could only be acquired by adopting solely their own methods. In my published interviews with Madame Carreno and Mr. Leonard Borwick a few years ago. these arrogant claims have also been plainly denounced. Hut the craving of the public for something new hejps to keep m> the illusion, until somo newer plausiblo | theory supplants it.

In his witty way, M.C.X.. m "The Changing Scene" of last Saturday's "Press," refers to the question what kind of place Heaven is. believing that, with the exception of "Strad" and "a few other,musicians" —why a few" —mosL people agree that it is not the abode of music. I don't, think myself it is. The mueical contingent to Heaven consists presumably only of such good people as organists and those of their fair satellites whom wo on earth already hold up as angelic. In tho course of ages, their heavenly harmonies must have grown tiresome, and no doubt Celestial public opinion, backed by an influential press, resented their musical activity above ibe clouds long, long ago. But I demur to hearing my own aspirations as to futurity misconstrued. We of the wnful kind, take tho advice of Hawkins's friend, who comforted him m his last moments: " 'Awkins, you can't expect to go to 'eaven. 'Awkins. you'll 'aye to go to th' other place. Be thankful, 'Awkins, there's a place kept ready for you." Believe mc, M.C.X., I shall live in glorious company in the other place and in no fear of musical dearth or monotony. And, as for some little inconveniences, down below, I am not being spoiled by my present terrestrial connexions in my painful profession.

The encore nuisance ia still the subject of frequent comment . at Home, and the."i)aily Telegraph" chronicles an American movement to suppress it with evident pleasure., as follows: — "One has heard a good deal lately about the 'encore nuisance,' and we are reminded of it again by reading in an American paper that next teason solo-

ists.appearing at the concerts of tho Chicago Symphony Orchestra, will bo informed that, a new rule has been passed by the authorities, forbidding the custom of encores. From which ono gathers that the said 'nuisanco' is not confined to concert rooms in our country. But was it not Auber who dubbed us a nation of "encorists?" In any case it is to bo hoped that I/ondon cxmcertgivers, particularly those who help to spread the gentle cult of the ballad, will take noto of tho salutary rule which is to bo enforced in future by the directors of the Chicago Symphony Orchestra. In. the meantime, may we offer to the latter our sincere congratulations?"

At the beginning of next month we shall have an opportunity of hearing a groat violin virtuoso again in the person of Mr. Mischa Elman, who, famous al road v. as. a.-youthful prodigy, ha;, from all accounts,-redeemed the promise of his childhood, and now, in 22nd year, takes his place at Home and in America the chosen few. It is stated that the fees for his engagements on the present Australasian tour, which includes two concerts each Jr. the four Now Zealand centres, are the hichest ever paid, not excluding Harry "Ijaudor.