The student must keep in mind that the composer writes his thoughts; perhaps the reader is unable to conceive the difficulty of transferring to paper the musical thoughts which come unbidden to the mind; to write the notes is simplicity itself, but how impossible to write a melody so that every inflection of tone power, every slight change in tempo, and more than this the exact sentiment which the music should convey. To some people--perhaps to some players--music is merely the sounding of a variety of combinations of sounds, in various rhythms; it expresses nothing more than that. Emotion, sentiment, must not be given a place in the musician's vocabulary, anything which does not appeal solely to the intellect we are told to consider vulgar and sensual. Luckily for the string player these superior people are in a minority, the multitude are yet swayed, and to the end will continue to be moved by a melody sung or played from the heart.
Perhaps it is possible to find a parallel in art; one contemplates a beautiful geometrical design; clever, intricate, graceful, but how much better are we for its contemplation? Has it conveyed any truth? Is it possible to move a crowd either to tears or laughter? Is it possible to awaken either warlike or peaceful feelings in the breasts of the observers? How much greater to portray feelings than forms, thus a picture which depicts love, hatred, happiness, misery or gratitude, must be considered greater than a mere figure study. In landscape painting it is greater to reproduce _living_ nature than mere studies of trees, sky, etc.; thus the painter who makes us see the driving snow, the rushing torrent, the beating rain, the fitful gleam of sunlight or even the passive stillness of the wood, conveys impressions to our minds, not only impressions of nature, but of certain states or moods of nature.
Compare some of the music by such as Romberg to that of Beethoven or Schumann; the first merely studies in sound, the latter brimful of thoughts, impressions, which appeal to the intellect of the performer, and test his musicianship by the manner in which they are expressed or overlooked.
The student should remember that all good music is composed with a strict observance of its effect on the listener; this does not mean that Beethoven wrote a scherzo for the sole purpose of causing people to feel jolly, any more than he wrote a funeral march or an adagio solely to make people sad. In all Beethoven's music, as in that of other great masters, the listener is purposely compelled to pass through various states of mind; where necessary the addition of a movement or section in quite a contrasting mood is purposely made, so that the mind of the listener is prepared for the ensuing movement. The composer writes what inspires him at the moment, but his greatness is shown in the manner in which these themes are contrasted and varied, so that the interest of the listener is sustained throughout the whole performance. This must be considered in the delivery of a musical composition. "It is the effect on the listener which one must constantly have in mind," no matter how turbulent are the feelings of the player, if the passion does not find its way into the delivery, the audience will be quite unaware of the fact. How is this to be accomplished? In reading aloud or reciting, if one only observes the ordinary rising and falling of the voice at the division of the periods, marks of interrogation, etc., it would be hardly possible to say that one read with expression. There is something more than this school boy elocution required; does not an orator hurry an impassioned passage, and drag a doleful one, does he not shout a command and whisper a tender sentence. So if the musician merely observes the rhythmical and dynamic effects, the performance may be correct, yet it will be void of soul, and of that force which carries along the hearer.