If the reader will
imagine, instead of a few simple chords, a passage of music in the key
of C, followed by a passage in the dominant key of G, and ending with a
passage in the key of C, he will perceive that here is the deep
underlying principle of modern music: that after a certain length of
time spent in one key the ear wearies, and the modulation to the new key
is grateful; but after a time the ear craves for the original key again,
so after getting to that, and spending a certain time there, a piece
closes with perfectly satisfying effect. Haydn was the first to get that
principle in an iron grasp and use it, with numberless other devices, to
get unity in variety. Not till nearly a hundred years after Purcell's
day did that come to pass; but the music of Purcell and of others in his
period, showing a sense of key relationships and key values, is a vast
step from the music written in the old modes. Let me beg everyone not to
be so foolish as to believe the nonsense of the academic text-books when
they speak of the new type and structure of the newer music as an
"improvement" on the old. The older were perfect for the things that had
to be expressed; the newer became necessary only when other things had
to be expressed.
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