Musical Criticisms

In Short

This volume gathers the professional music criticism of Arthur Johnstone, a writer who served as a vital cultural bridge in Manchester during the late Victorian and Edwardian eras. The articles track the performances and compositions of luminaries like Beethoven, Wagner, Elgar, and Richard Strauss, while grounding these evaluations in a deep understanding of musical history. Because Johnstone writes with both technical precision and a profound sense of humanistic inquiry, his work remains a lasting document of how the great masterworks of the past were perceived by an intellectually rigorous contemporary.

The Story

The narrative arc of the book begins with the foundational pillars of the Western canon, specifically the works of Bach and Beethoven. Johnstone treats these composers as the essential benchmarks against which all subsequent music must be measured. He engages in a thoughtful defense of Beethoven, for instance, dismissing trivial charges of plagiarism regarding the Eroica Symphony by emphasizing how Beethoven’s transformative imagination turned simple thematic fragments into monumental architecture. From this solid footing, the work shifts toward the turbulent, innovative spirits of the nineteenth century, including the symphonic poems of Liszt and the immense, mythic structures of Wagner.

As the collection progresses, the focus turns to the contemporary landscape of the early 1900s. Johnstone documents the rapid emergence of Richard Strauss and Sir Edward Elgar, two figures who pushed the boundaries of orchestration and emotional expression. He approaches their challenging, often dense compositions—such as Elgar's The Apostles or the symphonic poems of Strauss—with a careful, analytical eye, acknowledging their technical difficulty while defending their artistic legitimacy against conservative critics. Along this journey, the author frequently pauses to address the state of the public, lamenting the "anomalous" way audiences cling to traditional favorites while remaining suspicious of the very innovators who built upon them.

The latter portion of the book expands beyond purely structural analysis to consider the soul of nations as expressed through music. Johnstone contrasts the "breezy, optimistic" spirit of American life found in Dvořák with the "languorous and oppressed" atmosphere of modern Russia captured in Tchaikovsky’s Pathétique Symphony. He concludes his survey by reflecting on the historical trajectory of English music, mourning its long period of "sterility" after the age of Purcell and celebrating the current, albeit maturing, revival. The book does not end with a neat resolution, but rather with a series of nuanced assessments of performers like Godowsky and the enduring, vital legacy of conductors like Hans Richter. It leaves the reader with a panoramic view of an art form in constant motion, moving from the rigid, classical past toward a future of complex, psychological, and highly textured sound.

How It Unfolds

Foundations of greatness The analysis opens with the essential works of Bach and Beethoven, establishing these masters as the inescapable standard for all music. Johnstone argues that their influence is not merely historical, but a living force that dictates the boundaries of technical and emotional expression.

The shift toward modernism The text moves into the nineteenth-century evolution led by Berlioz, Liszt, and Wagner. These chapters track the move away from traditional forms toward the symphonic poem and the total musical drama.

The contemporary challenge Johnstone turns his attention to the "enigmatic" works of Richard Strauss and the grand oratorios of Elgar. He carefully parses the complexity of these scores, often serving as a mediator between the composer's ambition and the audience's hesitation.

The spirit of the age The final chapters explore how cultural and national identities permeate symphonic writing. The author compares the Russian soul and the American temperament as reflected in the music of Tchaikovsky and Dvořák.

The art of performance The book concludes with examinations of virtuosity and the role of the conductor. Johnstone emphasizes that a performer's interpretation is a creative act, one that requires both technical mastery and a deep, intuitive sympathy with the score.

The People

The figures in these pages are divided between the legendary "giants" of the past and the active practitioners of Johnstone’s own day. Beethoven stands as the primary benchmark of "virile energy," a figure whose creative power is compared to a "mighty smelting furnace." Beside him, Wagner appears as the master of complex scenic and musical synthesis, represented most clearly through the Bayreuth festivals.

In the contemporary realm, Dr. Hans Richter emerges as a central, heroic figure. Johnstone views him as the ultimate interpreter, a conductor whose "generalship" and deep knowledge of the classics defined an entire era of orchestral performance. Opposite him stand the modern innovators like Richard Strauss, whom Johnstone defends against critics who label him a mere "eccentric." Similarly, Elgar is presented as a dramatic, evolving voice, one whose work is "hopelessly beyond the powers of any mortal" to render perfectly, yet whose genius is undeniable. The author also features virtuosos like Godowsky, whom he treats with a mix of admiration for their "preternaturally deft" technique and a slight, tempered reservation regarding their lack of the "mighty personality" seen in the legendary players of the previous generation.

In Its Own Voice

"The notion of bringing a charge of plagiarism against Beethoven in reference to this theme is absurd beyond expression."

This remark sets the tone for his defense of artistic genius, countering the pedantic criticisms of his day.

"The composer has no hymn of thanksgiving or serenely contemplative interlude to give us, but only something with the perfumed and artificial atmosphere of the ballroom, as a relief from the ardours and terrors of his military and patriotic passages."

This observation captures the author’s insightful reading of Tchaikovsky’s Pathétique Symphony.

What It's Really About

The central argument concerns the continuity of musical tradition and the struggle of audiences to keep pace with innovation. Johnstone consistently contends that the "historic and traditional mistake" of the musical public is to worship the masters of the past while rejecting the very figures who evolve that legacy. He poses fundamental questions about the nature of art: Is music a static object to be preserved in amber, or is it a dynamic, psychological expression that must constantly expand its technical vocabulary? Throughout, he champions the idea that true art is "enigmatic" and "complex," resisting easy categorization and requiring the listener to possess as much courage as the composer.

Why Read It Today

Readers who appreciate the intersection of history, sociology, and aesthetic criticism will find this book deeply rewarding. It provides a rare, grounded look at how a highly literate, dedicated observer viewed the music we now take for granted as "classic." Johnstone’s prose is warm, clear, and unpretentious; he does not hide behind jargon but instead explains his reasoning with a compelling, conversational directness.

A modern reader should be prepared for the specific constraints of his time. Johnstone writes from a distinctly British, early twentieth-century perspective, occasionally reflecting the period's attitudes toward "national character" and high-culture social hierarchies. Furthermore, his deep familiarity with the specific concert seasons of 1900–1904 means that the reader occasionally encounters references to obscure performers or long-forgotten local controversies. However, these period details do not detract from the work; rather, they ground the music in the reality of its time. Those who love music—not just as a collection of sounds, but as a evolving, human dialogue—will find in these pages a kindred spirit. What stays with the reader is not just his analysis of a specific symphony, but his infectious, lifetime commitment to listening with both a critical mind and an open heart.