I have just come back from hearing a great violinist, who played, with three other professors, in two quartettes, Mozart and Beethoven. I know little of the technicalities of music, but I know that the Mozart was full to me of air and sunlight, and a joy which was not the light-hearted gaiety of earth, but the untainted and unwearying joy of heaven; the Beethoven I do not think I understood, but there was a grave minor movement, with pizzicato passages for the violoncello, which seemed to consecrate and dignify the sorrow of the heart.
But apart from the technical merits of the music--and the performance, indeed, seemed to me to lie as near the thought and the conception as the translation of music into sound can go--the sight of these four big men, serious and grave, as though neither pursuing nor creating pleasure, but as though interpreting and giving expression to some weighty secret, had an inspiring and solemnising effect. The sight of the great violinist himself was full of awe; his big head, the full grey beard which lay over the top of the violin, his calm, set brows, his weary eyes with their heavy lids, had a profound dignity and seriousness; and to see his wonderful hands, not delicate or slender, but full, strong, and muscular, moving neither lingeringly nor hastily, but with a firm and easy deliberation upon the strings, was deeply impressive. It all seemed so easy, so inevitable, so utterly without display, so simple and great. It gave one a sense of mingled fire and quietude, which is the end of art,--one may almost say the end of life; it was no leaping and fitful flame, but a calm and steady glow; not a consuming fire, but like the strength of a mighty furnace; and then the peace of it! The great man did not stand before us as a performer; he seemed utterly indifferent to praise or applause, and he had rather a grave, pontifical air, as of a priest, divinely called to minister, celebrating a divine mystery, calling down the strength of heaven to earth. Neither was there the least sense of one conferring a favour; he rather appeared to recognise that we were there in the same spirit as himself, the worshippers in some high solemnity, and his own skill not a thing to be shown or gloried in, but a mere ministering of a sacred gift. He seemed, indeed, to be like one who distributed a sacramental meat to an intent throng; not a giver of pleasure, but a channel of secret grace.
From such art as this one comes away not only with a thrill of mortal rapture, but with a real and deep faith in art, having bowed the head before a shrine, and having tasted the food of the spirit. When, at the end of a sweet and profound movement, the player raised his great head and looked round tenderly and gently on the crowd, one felt as though, like Moses, he had struck the rock, and the streams had gushed out, _ut bibat populus_. And there fell an even deeper awe, which seemed to say, "God was in this place ... and I knew it not." The world of movement, of talk, of work, of conflicting interests, into which one must return, seemed all a fantastic noise, a shadowy striving; the only real thing seemed the presence-chamber from which we had gone out, the chamber in which music had uttered its voice at the bidding of some sacred spell, the voice of an infinite Spirit, the Spirit that had brooded upon the deep, evoking order out of chaos and light out of darkness; with no eager and dusty manoeuvrings, no clink and clatter of human toil, but gliding resistlessly and largely upon the world, as the sun by silent degrees detaches himself from the dark rim of the world, and climbs in stately progress into the unclouded heaven.
[The end]
Arthur C. Benson's essay: Music