ACCENT AND REGNANT HARMONY 159 



work may be contemplated at leisure; we may- 

 observe its points in any order we please and may 

 discuss them with a companion without disturbing 

 the moments of contemplation. None of these par- 

 ticulars apply to music. The composer's original and 

 finished creation is a book of symbols comparable with 

 the plans and specifications of the architect. True 

 the musician may read the book and hear the music 

 in the way that Carlyle preferred to see plays, "in 

 the theatre under my hat." But the music- work to 

 be contemplated by the listener must be performed, 

 not reproduced, but actually and audibly produced; 

 each and every hearing involves a fresh and indepen- 

 dent production. No artist, no conductor can exactly 

 duplicate a previous production; each is new, indi- 

 vidual. A music-work is produced then and there 

 and contemplated then and there on the spot; now 

 it begins, now it is ended and ended forever, it has 

 passed into eternity along with the moments during 

 which it held artist and listener united by its magical 

 spell, a mere evanescing memory to look back upon 

 and talk about. Not only are the moments of pro- 

 duction and contemplation concurrent, not only do 

 they begin and end together, but they concentrate the 

 attention of both artist and listener upon one and the 

 same idea; their duration is prescribed and limited; 

 there is no looking backward until the final harmony 

 has ceased to vibrate. Artist, it is difficult to determine 

 which is the greatest, your responsibility, your power, 

 or your privilege. Your responsibility is great, stand- 

 ing as you do between the masters whose creations it 

 is your power and privilege to recreate and your 



