on me heavily. How happy I would be to fly from life to
art, but as art lives only in life, and life only in art, both
combined, continue to harass me," wrote Weber.

Schumann, calling attention to the fact that Beethoven
"on the title page of the C major Overture uses the expression
"Gedichtet von" instead of "composed by", urged musicians to
read good literature. This was the period of the LIED and the
intimate song as opposed to the impersonal solo cantata and
the classical aria; Schubert, Brahms, Duparc and Debussy
have left us pieces for voice and piano in which the fusion
of words and music are unsurpassable. It was an age of con-
trasts--Niccolo Paganini and Franz Liszt brought the career
of the virtuoso to hitherto undreamed of heights, Bizet
Carmen was at first a fiasco in Paris; while in Boston, of all
places, Johann Strauss conducted 20,000 people in the Blue
Danube Waltz assisted by 100 sub conductors.

It is gratifying to find an anthology with voluminous
quotations on the music of today. Discussion of quarter tones,
twelve tone scales, mechanical music, jazz and the like are
welcome. The final section: Music in a Degenerated World
takes up Nazi practices and theories. Few ideas are more
foreign to Americans than the complete submission of music
to the state. The principles for which we have struggled in
modern times: Liberty, Fraternity and the Pursuit of Happi-
ness are opposed to censorship and aesthetic rules dictated
from above.

Nevertheless music from earliest times has been con-
trolled more than we realize and, in the past, the totalitarian
approach to art has been the rule rather than the exception.
Art for Art's Sake is a relatively modern idea--definitely
frowned upon in communist countries today--for excessive
individualism is considered anti-public. Subjectivism, innova-
tion, and abstract tendencies, often referred to as "formalist
trends", are considered harmful and "alien to the principles
of socialist realism." Two world ideologies are face to face

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