12 - Mozart

Summary

Arts School, Cambridge, 4 March 1871

As I have said in a former lecture, never was there a period in the history of music so fraught with anxiety and deep interest as that of the present. Never was there a time when it was more necessary for those studying music with a view to obtain any eminence in the art to look about them closely and thoughtfully and see what is going on at this moment.

Let them watch on the indications (clear to a practised eye) which point to the unsettled state of the art. I use the term ‘unsettled’ in no desponding spirit, for music has had its revolutions like nations, and according to our knowledge has ﹛chiefly﹜ been the gainer. Whether every succeeding revolution is to be a success and lead to a further development of the art on ground principles is a question which few would have courage enough to answer.

In the present day there is much of composition in all styles – good, indifferent, and bad for a young musician to study. It will be for him to choose his path and shape his taste – and a very perilous matter is this decision. Certainly, very few of our greatest musicians have been without the guidance of experienced teachers, these being their immediate predecessors; but teaching is only part of the matter; it is the self-control and patient study of the young artist which will effect the bulk of his success. His difficulty will lie between pedantry and scholarship, between wild enthusiasm and absolute tameness.

Again it is reasonable to suppose that a young artist has a favorite author of whom he is continually thinking, and whose works continually possess him. As the favorite composer will probably be chosen on account of some striking and special quality in his works, this matter must appear very serious. The student would but freely imitate any striking point and risk the chance of [not?] learning outline and form.

It would be better to work upon the model of a so-called dry composer who knew form, than to run this ‘wild goose chase’. But there is little need to be brought down to the study of the works of a dry composer.