MODERN PART-SONGS.

Press, Volume LXV, Issue 19683, 29 July 1929, Page 11

MODERN PART-SONGS.

TO 7H2 or THIS : RE.-S. i Sir, —Appreciating The friendly spirit of Air T. Vci lion Griffitiis's letter in Saturdays on my comments on English part-song writing, he has the advantage over me of a fairly recent contact with English composers and publishers, whereas I must depend for information upon programmes and reports. Ido not in the least question Mr Grifiiths's statement that part-song 3 are freely produced, contrary to my previous b'eiief, but, written or not, the result is just the same. They are not heard. VTith the exception of Elgar, who stands on a pedestal of his own little affected by prevailing eccentricities, the share allotted in male voice programmes to the works of the new schools is quite insignilicant. Even so, as often as not, their names on the lists merely indicate that they have put new dress-suits on old airs or ballads. What are the reasons for such regrettable neglect? I happened to glance this very morning at. an article on the modern novel by Hugh Walpole, with the heading "Too Much Cleverness." There are, he says, too many writers afraid of not being brilliant (and, he might have added, up to date), where the. should forget cleverness, approval or not, everything, but the substance of their creations. These arguments meet our case exactly. As a class, musical composers in these days are too clever at the cost of a deeper value. Often with complicated and artificial scores in for and means very skilful and—not too rarely—so ugly in details, their performance pays no adequate reward for the great labour involved in preparation by amateur bodies. There may be found exceptions; they prove the rule, not merely in England, but all the world over. As it was, so it ever will be. Music which is not written with the heart is labour lost. It never reaches port. What we want, urgently want at this unprofitable stage is—a musical Renaissance! —Yours, etc., YOUR MUSIC CONTKIBUTOE. July 27th, 1929.