MUSICAL COMPOSITION

..4U~gro.-p­VIOL. L ~:::COLOUR 117. ., f~: • -12-, I I l',v IS-VIOlA.~p..'CELLO. l' -P- -~ f -P- •I-~---;@ii---I- 1- 1-1- r- I I f'tt@'"" :=) I-0: =Et 'f:a:-heard as he intends it to sound. This rule applies toall music, and especially to orchestral and chambermusic. No executant can be expected to look at apassage as if the brains of the writer had been temporarilytransferred to him. An inexperienced composeroften thinks that no player could possibly interprethis work except in the way he thinks of it himself,and he omits to write down definite directions for hisguidance. There have, it is true, been executants andconductors of genius who seem intuitively to know theintentions of a composer without any assistance fromhim at all. But von Billows are few and far between.He must not expect to find them growing on everybush. He must legislate for the musician of averagecapability and leave nothing to chance. A crescendoand diminuendo, an sf, a sudden pianissimo, may alterthe whole character of a passage, and turn dulness