Music, just because its substance is so elusive and requires such
alert attention on the part of the listener, cannot continually
present new material[17] without becoming diffuse; but instead,
must make its impression by varied emphasis upon the main
thought. Otherwise it would become so discursive that one
could not possibly follow it. From these historical facts as to
the structure of music certain inferences may be drawn; the vital
importance of which to the listener can hardly be exaggerated.
As polyphonic treatment (the imitation and interweaving of in-
dependent melodic lines) is the foundation of any large work
of music, be it symphony, symphonic poem or string quartet,
so the listener must acquire what may be called apolyphonic
ear. For with the majority of listeners, the whole difficulty and
the cause of their dissatisfaction with so-called “classic music”
is merely lack of equipment. Everyone can hear the tune in the
soprano or upper voice, for the intensity of pitch makes it stand
out with telling effect; and, as a fact, many of the best tunes
in musical literature are so placed. But how about the tune
when it is in thebassas is the case so frequently in Beethoven’s
Symphonies or in Wagner’s Operas? Some of the most eloquent
parts of the musical message are, indeed, often in the bass, the
foundation voice, and yet these are entirely ignored by the av-
erage listener. Then what of the inner voices; and what—most
important of all—when there are beautiful melodies inall parts
of the musical fabric, often sounding simultaneously, as in such
well-known works as César Franck’sSymphony in D minorand
Wagner’sPrelude to the Mastersingers! As we face these ques-
tions squarely the need for the listener of special training in
alertness and concentration is self-evident. A very small pro-
portion of those who attend a symphony concert begin to get
their money’s worth—to put the matter on a perfectly practi-
cal plane—for at least 50%is presented to ears without capacity
for receiving it. In regard to any work of large dimensions the
final test is this: can we sing all the themes and follow them
in their polyphonic development? Then only are we really ac-
quainted with the work; then only, in regard to personal like or
dislike, have we any right to pass judgment upon it. The absurd
attitude, far too common, of hasty, ill-considered criticism is il-
lustrated by the fact that while Brahms is said to have worked
for ten years on that Titanic creation, hisFirst Symphony, yet
persons will hear itonceand have the audacity to say they do
not like it. As well stroll through Chartres Cathedral and say
ann
(Ann)
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