e the form of the music,--the more architectonic it is--the
less variation in tempo should there be in its rendition, for in this
type of music the expression is primarily intellectual. Such
instrumental works (of which certain compositions of Bach and Mozart
are typical) must not be played sentimentally, as a modern English
writer has remarked, and yet they must be played with sentiment. The
remarks of this same author may well be quoted in closing this
discussion:[16]

Rubato is necessary in emotional music and is an excellent
means of picturing longing, persuading, dreaming, _et
cetera_. That is why its use is so characteristic in
performing the works of the romantic school and why it must
be used with such caution in the classics. The classic must
be clear as daylight--the structure must be evident even on
the surface; but the romantic composition needs often to be
played in a veiled manner in order to produce atmosphere. In
such a case the rhythm is veiled as it were, draped in
gauze, but the rhythmic design is there under the veil just
the same. To express calmness, decision, _et cetera_, avoid
rubato.

[Footnote 16: Matthay, _Musical Interpretation_, p. 88.]

It must now be evident to the reader that this whole matter of musical
_nuance_ is too subtle to be treated adequately in a book of this
character, and it becomes necessary for us once more to advise the
amateur to study music, both vocal and instrumental, in order that his
latent musical feeling may be developed into a ripe and adequate
musical taste.

[Sidenote: TEMPO RECORDED IN MUSCLES]

In concluding the chapter let us emphasize the fact that the
establishing of a tempo is a matter of muscle even more than of mind,
and that before beginning to beat time the conductor should have the
tempo recorded in his muscular memory. Before rising to conduct a
composition then let him feel its tempo in the muscles of the arm and
hand wielding the baton; for if not thus felt, the work will rarely be
begun with a clearly defined rate of speed. This consideration
receives added weight when it is recalled that if the conductor does
not set the tempo, the chorus accompanist or first violinist will, and
they, not having studied the music from this standpoint, will rarely
succeed in hitting upon the correct rate of movement.

CHAPTER VI

INTERPRETATION IN CONDUCTING

(_Continued_)

DYNAMICS