Release Date: 01 March 2007
MUSIC OF OUR DAY Essentials and Prophecies. by LAZARE SAMINSKY NEW ENLARGED EDITION THOMAS Y. CROWELL COMPANY PUBLISHERS NEW YORK COPYRIGHT, 1932 AND 1939 BY THOMAS Y. CROWELL COMPANY Copyright in. Great Britain and Ireland and also in all countries subscribing to the Bern Convention All Rights Reserved Short passages may be reprinted with credit to title, author, and publisher FRIOTED IN THE UNITED STATES OP AMERICA THIS writer dislikes exhausting a subject in disco rse as much as he would shnn doing so in a sonata. As soon as the kernel of a thing is held up to the light, it is easy to see the rest. This book has no desire to race the arrow telling of sec onds, to record minutely changes in the body of modern music since the first edition. As a matter of fact, , nothing has changed only processes before described have been aggravated. The shifts in this new edition are only additions a new introductory essay, new chapters on Sibel ius, on North and Latin America, on French and English composers, and on the Composer versus Critic. Only one chapter, that on the Russian Bal let, is revised the rest has been left intact. Of course, the reader is always curious to have our own confession as to whether anything has shifted in our viewpoint. With one who has set out to describe the true state of things this query is, I believe, beside the mark. Is not the instinct of fact but a moment in our awareness when truth is filtering through ones mind The mind can be neither wrong nor right. Like sight or hearing, it either lets things through, or it does not. L. S. CONTENTS PAGE A Prelude Music of Our Day vii PART I THE TONAL LANGUAGE OF OUR TIME Its Technical and Moral Aspects . . . . 3 ItsHistorical and Prophetic Aspects ... 84 PART II RACE AND REVOLUTION Race and Revolution 117 The Downfall of Strauss 125 Mahler and Busoni 131 An Austro-German Triad Schoenberg, Bar tok, Berg 137 Americans of Single and Dual Allegiance . 147 America, Celtic and Latin 164 Sibelius, a Mind Two-dimensional . . . . 193 Saxon versus Gaul 205 PART III NEW RUSSIANS AND THEIR ALMA MATER New Russians and Their Alma Mater . . . 223 Rimski-Korsakov and Liadov 227 Scriabin and Stravinsky in Review, ., . 245 Gniessin, Prokofiev and Miascovski . . . 250 The Latest Russians 258 Music of the Russian Orient 230 Russian Ballet, Its Heirs and New Opera . . 301 PART IV THE NEW ART OF CONDUCTING . 321 A Postlude The Composer and the Critic . . . 365 Index 379 MUSIC OF OUR DAY A PRELUDE TO RESURRECTION but tactics, and now they have died of TPJKDR some years they have lived on nothing r b tactics What a British statesman said of his political enemies, might well explain many a thing now. 1 A strange stillness hovers over the dreary lanes of todays music. Some time ago we sat before the burning house waiting. Would the high wind die down Was the frame strong enough to survive We now lean over unrelieved debris. The musical map before us Is very much like a photograph of the moon. A glazed, seared surface dotted with extinct volcanoes. Ours are the three Ss which have come very near to taking the place of the three Bs, at any rate to elbowing them out of much of their realm. By the side of dead giants a Sir Henry Campbell-Bannerman, premier o England 1905-1908 and leader of the Liberal Party. vii MUSIC OF OUR DAY a number of minor and local craters they fumed so busily not long ago, and now are not eligible foreven a listing. Strauss, Schoenberg, Stravinsky A rumbling is still heard In semi-cold craters a queer piece Is flung out, now and then, and rolls down the slope. But nothing can be found in Arabella or the rest of Strauss 5 mellifluous inanities, nothing save tricks of a formerly glamorous craft. And it Is clear that Schoenberg has died from carrying beyond arts en durance a perverse structural obsession, a technical strategy cruelly alien to the native order of song...
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