Aspects of Modern Opera Estimates And Inquiries

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It is by no means an evident or settled truth that music is incapable of uttering anything but worthy emotions, ideas, concepts. There is music by Berlioz, by Liszt, by Wagner, by Rimsky-KorsakorT, by Strauss himself, which is, in its emotional 80 MODERN OPERA substance, sinister, demonic, even pornographic in suggestion ; and not simply by reason of a key furnished by text, motto, or dramatic subject, but in itself — in its quality and character as music. But the claim need not be elaborated, ...or even demonstrated, since it is beside the point. One quarrels with the music of the final scene of "Salome" on the broad ground of its inappropri- ateness : because the emotional note which it strikes and sustains is one of nobility, whereas the plain re- quirement of the scene, of the psychological moment, demands music that should be anything but 6 81 ASPECTS OF noble. And here we encounter the objections of those who hold that Salome herself, at the moment of her apostrophe to the dead head, becomes transfigured, uplifted through the power of a great and purifying love.

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