bourn of
impulse was half stopped. It was not that they did not write "Jewish"
music, utilize solely racial scales and melodies. The artist of Jewish
extraction need not do so to be saved. The whole world is open before
him. He can express his day as he will. One thing, however, is
necessary. He must not seek to inhibit any portion of his impulse. He
must not attempt to deny his modes of apprehension and realization
because they are racially colored. He must possess spiritual harmony.
The whole man must go into his expression. And it was just the "whole
man" who did not go into the work of the composers who have hitherto
represented "Judaism in Music." An inhibited, harried impulse is
manifest in their art.

For, like Meyerbeer, convinced of the worthlessness of their feelings,
they manufactured spectacles for the operatic stage, and pandered to a
taste which they least of all respected. Or, like Mendelssohn, they
tried to adapt themselves to the alien atmosphere of Teutonic romance,
and produced a musical jargon that resembles nothing in the world so
much as Yiddish. Or, with Rubinstein, they gloved themselves in a pretty
salon style in order to conceal all vestiges of the flesh, or tried,
with Gustav Mahler, to intone "Ave Maria." Some, no doubt, would have
preferred to have been true to themselves. Goldmark (the uncle) is an
example. But his desire remained intention, largely. For his method was
a trifle childish. He conceived it as a lying on couches amid cushions,
sniffing Orient perfumes in scent-bottles. He did not realize that the
couch was the comfortable German _canape,_ the cushions the romantic
style of Weber and the early Wagner, and that through the

"Sabaean odors from the spicy shore
Of Araby the blest"

there drifted the doubtlessly very appetizing smell of Viennese cookery.

But there is music of Ernest Bloch that is a large, a poignant, an
authentic expression of what is racial in the Jew. There is music of his
that is authentic by virtue of qualities more fundamentally racial than
the synagogical modes on which it bases itself, the Semitic pomp and
color that inform it. There are moments when one hears in this music the
harsh and haughty accents of the Hebrew tongue, sees the abrupt gestures
of the Hebrew soul, feels the titanic burst of energy that created the
race and carried it intact across lands and times, out of the eternal
Egypt, through the eternal Red Sea. There are moment