NEGLECT OF GENIUS

Evening Post, Volume CXIII, Issue 130, 6 June 1927, Page 16

NEGLECT OF GENIUS

THE CASE OF DELHJS

Wagner had a theory that musical masterpieces are kept alive at the pianodesks of amateurs (writes G. C. Ashton Jonson in the "Daily Telegraph," London). The music-lovers of England are now being constantly reproached for their neglect of Frederick Delius, -who, they are informed by his biographer, Philip Heseltine, is "one of the company of great masters -who belong neither to the past nor to the present, but to all time." This obiter dictum I extract from Mr. Heseltine's illuminating book on the composer and his ivorks, in which he brilliantly fulfils the intention declared in his preface of showing the relation, of Delius's music to life and its spiritual significance. Incidentally he hopes "to persuade people" to become acquainted with the music at first hand." But how are "people," and by "people" I mean lovers of music, to become acquainted at first hand with the music of a . composer whose most important and characteristic works consist almost, exclusively of operas, and elaborate compositions for large orchestras and chorus, :i. they are seldom if ever performed ? - Much of Delius's music, too, is still unpublished. It seems to me that' if there is any blame to be apportioned it should in fairness be divided, between those conductors who have. a free hand in the choice of music '•ey, select for their concerts and the publishers - who apparently failed to compete for the privilege of publishing music which Sir Thomas Beecham declares to be of transcendent merit. Alone amongst our great conductors Sir Thomas Beecham has every concert season consistently introduced into his programmes some masterpiece of. Delius, of whose genius he has recently uttered so eloquent a panegyric. . . , ■ ; Mr. Heseltine also allots some blame to the musical critics. Ho declares that it is their business, if they aspire to be real critics and not mere journalistic hacks, not only to comment on works actually performed, but to be so far ahead of ordinary people in musical knowledge "as to. be in a position to advise the public .not only what to go and hear when .they get the chance, but what to buy. and study in their own homes—since familiarity with contemporary music can hardly be gained in this country from public performances alone." ■ ■ But the critics are in somewhat the same jwedwament. as the public. How are they to become' sufficiently well acquainted with works that are very seldom or never performed to be able to recommend.the public to go and hear them if they get the chance? If the reply is that they must first buy and study the works in their own homes, we find that in the case of Delius fas represented by Mr. fieseltfce, writing in 1922) many of: hisworks are only in manuscript, and other important com-' positions are published only in orchestral score. ; - Now it pleases : toe. to think that to our well-kaown' critics orchestral scores are as easy to road as "Baa, Baa, Black Sheep, arranged for tiny, hands." But even !then orchestral scores are very expensive, and so also are the vocal scores which in some few cases are available. Have oiir busy critics time to stady long and difficult works, and if thijy have, and do recommend the public, to buy and study them in their own .bomes, how.much-further advanced aro/we? I speak now for the ordinai-y pianoplaying amateur, to whom for purposes, of study at; the piano .an orchestral' score is about ( as much use as a sick headache, and'to whom, indeed,.even a vocal score of an elaborate choral work presents very considerable difficulties. In the case of operas and choral works what the amateur really needs is a piano score of only moderate*difficulty •vith tbo text printed above the music. Tho argument that.this-cannot give the ; effect of the complete work, and is, thoreforo, useless or misleading, is met by the fact that for many years now there have been available just such editions of the Wagner Music Dramas. No one imagines that they are anything but an indication of what the I works are really like, but they are invaluable for study. None of, Delius's operas or choral works is so arranged, and of his orchestral works only the two beautiful pieces for small orchestra,. "On Hearing the First Cuckoo in Spring" and "Summer Night on ihe River." "In a Summer Garden" is marked by Mr. Heseltine as available in piano solo form, but I have not been able to obtain it, which I much regret, as no one who has heard the performance of this wonderful work undor tho baton of tho great Polish conductor, Emil Mlynarski, is ever likely to forget it or to cease from longing to remind himself at tho piano of so exquisite an impression. The piano scores-for which I am pleading in the intorests of neglected genius should also have a brief biographical notice of tho composer, with a torso statement of his position in music and of his aims and ideals, and then a description of tho piece, with brief but sympathetic analytical running comments printed on the score. This is what is now being done (indeed, has been done in the caso of Beethoven) in the caso of the music rolls issued by the Aeolian Company for their "Duo-Art.reproducing piano in what they call the "World's Music Series," to which many of tho leading musicians of this country are contributing- ■ ;" " . If what I suggest were done for Delius, there would soon be no more talk of neglected genius.