lps with which other forms of composition gain
public approval. In the delineative arts Chamber music shows analogy
with correct drawing and good composition, the absence of which cannot
be atoned for by the most gorgeous coloring. In no other style is
sympathy between performers and listeners so necessary, and for that
reason Chamber music should always be heard in a small room with
performers and listeners joined in angelic wedlock. Communities in
which it flourishes under such conditions are musical.

[Sidenote: _Programme music._]

[Sidenote: _The value of superscriptions._]

[Sidenote: _The rule of judgment._]

Properly speaking, the term Programme music ought to be applied only
to instrumental compositions which make a frank effort to depict
scenes, incidents, or emotional processes to which the composer
himself gives the clew either by means of a descriptive title or a
verbal motto. It is unfortunate that the term has come to be loosely
used. In a high sense the purest and best music in the world is
programmatic, its programme being, as I have said, that "high ideal of
goodness, truthfulness, and beauty" which is the content of all true
art. But the origin of the term was vulgar, and the most contemptible
piece of tonal imitation now claims kinship in the popular mind with
the exquisitely poetical creations of Schumann and the "Pastoral"
symphony of Beethoven; and so it is become necessary to defend it in
the case of noble compositions. A programme is not necessarily, as
Ambros asserts, a certificate of poverty and an admission on the part
of the composer that his art has got beyond its natural bounds.
Whether it be merely a suggestive title, as in the case of some of the
compositions of Beethoven, Schumann, and Mendelssohn, or an extended
commentary, as in the symphonic poems of Liszt and the symphonies of
Berlioz and Raff, the programme has a distinct value to the composer
as well as the hearer. It can make the perceptive sense more
impressible to the influence of the music; it can quicken the fancy,
and fire the imagination; it can prevent a gross misconception of the
intentions of a composer and the character of his composition.
Nevertheless, in determining the artistic value of the work, the
question goes not to the ingenuity of the programme or the clearness
with which its suggestions have been carried out, but to the beauty of
the music itself irrespective of the verbal commentary accompanying
it. Thi