MUSIC

Dominion, Volume 9, Issue 2884, 23 September 1916, Page 6

MUSIC

(By "Treble-Clef.")

Shakespeare's Attitude Toward Music. If we take it that Shakespeare was in the position of the average man in his attitude towards music, it says much that is favourable for the publio of the time. Again and again he reveals a quick Bense of its powers and a keen susceptibility to its influence. Reference to music are frequent in his works, and seldom without some point of interest. He makes allusion to concord and discord, to time to letting down the pegs, to the hoarseness of the ginger who has "a bad voice," to forbidden progressions and a host of other things. These are enough to 6how that Shakespeare knew more of the art than the averago literary man does. And they also indicate that by the gentlefolk of his time music was not dismissed with a wave of tho hand as being an affair lit only for the leisure of girls, but' was treated as something so wonderful and benefioial in its influence that it should occupy somo place in the life of every man. —D. 0. Parker, in the "Monthly Musioal Hecord" (London). How Beethoven Composed. "I bear myideas very long with me in my brain "ere I attempt to' write them down, and I can depend on my memory that I never forgpt a phrase, that hag taken hold of my mind. Sometimes I change some parts, I entirely condemn others, and then I try again until I think I have found the right way, with whioh I am at last 'satisfied myself. But then begins in my head the working out in width, in breadth, and height, without ever losing • ray hold on the fundamental' idea, which grows and grows, and increases until the whole picture stands complete before my mind's eye—then I. need only sit down and write it out, which, once begun, I do quickly and steadily, as I may find time to do it; because I usually work at different.things at the same time, but, as I told you, without ever confusing one with the other. Per. haps you may ask, where do I take my ideas from ? That is more than I can Kay. The ideas come, and there they are; sometimes so palpable that I fancy T can put my hands upon them while I am out in the meadows" or in the forest, at sunrise, or while I lie sleepless in bed, as the moods may seize mo. The inspiration with a poet would come in words, whereas to me it comes in tones that sing, shout, storm, or sigh sweetly, until at last they take quiet form in notes; then when. I have written them down I become calm again, and look at my work, and turn it and mend it until I am satisfied."— Extracted from Louis "From Handel to Halle." '■' The Tragedy of Medioorlty, The tragedy of mediocrity, the tragedy of all those aspirants for fame, not only on the musical-and dramatio stage, but in art, in literature, indeed, in all the various activities of life, who have the ambition, >who, have the de-. termination, who are willing.-to make* sacrifices- and'',.wofk.;irorn..morning till night, but, unfortunately, lack the ability to "get there," and who, in in their efforts to win success, consciously and sometimes even unconsoiously sacrifice relatives, friends, overybody with whoni they- come in contact, in a vain and frantic effort to win public approval. Their tragedy is supreme. Oh, these "poor, poor people who can never be made to see that the wrong is not with the public, but with themselves, and that it is not, an appreciative audience that they lack, but the power within themselves, whicli has not been given them and which they can never attain! .And, indeed, if some great writer wanted a subject for a hook whioh would have a tremendous appeal he could find it among the life tragedies .of those mediocrities who just have\en,ough ability to deceive themselves andthose who love them, but not enough ability to .win out.— "Mephisto," in "Musical America" ,(New York). English Folk-Songs, The charm of the old English folksongs is hardly excelled by those of any other nation. . There is a certain spontaneity and grace about them which is unforgetable. Many of the old songs sung, at tavern gatherings livo to this day, and not a few of them have been re-written by composers who have been none too conscientious about the source of their melodio materials. The songs of such English writers as Dr. Arne, Carey, Bishop, Lawes, and others are inimitable. Dr. Arno's "Polly Willis," "The Lass With.the .Delicate Air," and "Under the Greenwood Tree" have a flavour as rare and as delicate as lavender. Carey's "A Pastorale" is as good a concert song now as it was the day it was written. "Phyllis Has Such. Charming Graces" has the of the fiountrvside. Bishop's famous songs, "Bid Me Discourse" and "Should He Upbraid" are singularly individual. Concert singers use these songs to give variety to their programmes. The. old French Opera House of New Orleans, La,, has passed by gift to Tulane University. The donor declines to make known his identity. It is understood that he considered the educational institute the proper custodian for an edifice associated so closely with the artistic, social, and political history of New Orleans.