Modern music and musicians : [Encyclopedic] . y of the portrait by W. F. Mahler in thepossession of Mrs. Jabez Fox, Cambridge. Massachusetts. even Brahms, has contributed anything new in this direction. The NinthSymphony called a halt to further development. Our North Germans feelthis instinctively, and endeavor to bring their labors to fruitage in theform of the symphonic poem created by Liszt. The most active andsuccessful in this genre is undoubtedly Richard Strauss, but this is notthe place to investigate his art and his achievements. It is concededthat the form of the symphonic poem autho
Modern music and musicians : [Encyclopedic] . y of the portrait by W. F. Mahler in thepossession of Mrs. Jabez Fox, Cambridge. Massachusetts. even Brahms, has contributed anything new in this direction. The NinthSymphony called a halt to further development. Our North Germans feelthis instinctively, and endeavor to bring their labors to fruitage in theform of the symphonic poem created by Liszt. The most active andsuccessful in this genre is undoubtedly Richard Strauss, but this is notthe place to investigate his art and his achievements. It is concededthat the form of the symphonic poem authorizes and is highly favorableto the development of fancy. Its danger lies in the road, all too wide,which program music opens, and the consequent degradation of music toa role possibly hurtful to the art. 112 LUDWIG VAN BEETHOVEN 113 The Lorenzetti, especially Ambrogio, show to what unholy resultsleads the new effort to make painting express the greater concrete ideas—program painting, in short, can degrade the art. The expressive power of. ^P ?1 ! Ill BEETHOVEN IN HIS FORTY-SECOND by R. A. Muller. after a drawing by Louis Latronne in 1812. music is gigantic. If this is united with a visible exposition, and there-fore with action, so that the music illustrates specific scenes or motions,and the listener receives the desired impression without becoming con-scious of the intention, the attempt is to a great degree justified, and iscapable of being brought into agreement with the esthetic laws of instance is the musical drama of The Fall. But if music mustillustrate an invisible event according to the fancy of the hearer, or ratheraccording to his speculations, which afford free play to the most contra-dictory suppositions, it is forced into the role of interpreter, in which, be- 114 LUDWIG VAX BEETHOVEN cause it is necessarily too high and too sublime, it becomes inartistic andunsatisfactory in conveying the desired impression. Such symphonicpoetry as this
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