Music appears to be the most exacting of all the Arts, the cultivation of which presents the greatest difficulties, for a consummate interpretation of a musical work so as to permit an appreciation of its real value, a clear view of its physiognomy, or discernment of its real meaning and true character, is only achieved in relatively few cases. Of creative artists, the composer is almost the only one who is dependent upon a multitude of intermediate agents between the public and himself; intermediate agents, either intelligent or stupid, devoted or hostile, active or inert, capable—from first to last—of contributing to the brilliancy of his work, or of disfiguring it, misrepresenting it, and even destroying it completely.
Example of seven in a bar:--
These different times, in order to be divided in this way, are assumed to belong to movements of moderate measure. The advice would not hold good if their measure were either very quick or very slow.
The time, two in a bar, I have already signified, cannot be beaten otherwise than as we have before seen--whatever its degree of rapidity. But if, as an exception, it should be very slow, the conductor ought to subdivide it.
A very rapid four in a bar, on the contrary, should be beaten two in a bar; the four accustomed gestures of a moderate movement becoming then so hurried as to present nothing decided to the eye, and serving only to confuse the performer instead of giving him confidence. Moreover,--and this is of much more consequence,--the conductor, by uselessly making these four gestures in a quick movement, renders the pace of the rhythm awkward, and loses the freedom of gesture which a simple division of the time into its half