but
seldom that rich and varied glow found, for example, in
Rimsky-Korsakoff--that supreme master of orchestral coloring. As for
style, it may be said that his work fulfils Matthew Arnold's
definition of that desirable quality, "To have something to say and to
say it in the most simple and direct manner possible." We sometimes
feel, however, that he is thinking more of what he has to say than of
outward eloquence of expression. But when there are so many
composers[255] in whom there is far more style than substance, we
should not carp at Brahms for the "stuff" in his work. The matter
might be put in a nut-shell by saying that Brahms is Brahms; you
accept him or leave him, as you see fit. The bulk of his music not
only has stood the test of time but becomes more potent each year;
surely this is the highest possible endorsement. He is rightly
considered a great master of pure melodic line and a consummate
architect, especially in the conciseness and concentration of certain
compositions, _e.g._, the Third Symphony, and in his superb mastery of
the Variation form which is the basis of some of his most famous works
for orchestra and for pianoforte. His texture is of marked richness
and variety; seldom do we find verbiage or lifeless padding. He has
been called the Browning of music--a deep thinker in tones. Genuine
appreciation of Brahms presupposes work on the part of the
music-lover; and the recognition should be more general that the
imaginative stimulation gained only through work is one of the
blessings music has to bestow.

[Footnote 255: We cite Saint-Saens, as one instance.]

It is often alleged, indeed, that to enjoy Brahms one _has_ to work.
Of course, but what repaying work! This may be said equally of
Shakespeare, of Dante, of Browning, of Bach and of every poet with a
serious message. The vitality of Brahms's creative power, like that of
Beethoven, is seen in his rhythm. He had a highly developed rhythmic
sense, and in his fondness for syncopations, for contrasted accents
and for complicated metric groups he is the logical successor of
Schumann. One of his favorite devices is the altered grouping of the
notes in a measure, so that there is a contrast between duple and
triple rhythm, _e.g._, the following passage in the Second Symphony,
where an effect of great vigor is produced.

[Music]

There are never in Brahms weak or conventional rhythms. He is also one
of the great modern song-composers, representi