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Jean Christophe: in Paris - The Market-Place, Antoinette, the House by Romain Rolland
page 66 of 538 (12%)
Germany! But, above all, a great effort had been made to combat the
stay-at-home spirit of the French, who will shut themselves up in their
homes, and cannot be induced to go out. So their music lacks air: it is
sealed-chamber music, sofa music, music with no sort of vigor. Think
of Beethoven composing as he strode across country, rushing down the
hillsides, swinging along through sun and rain, terrifying the cattle with
his wild shouts and gestures! There was no danger of the musicians of Paris
upsetting their neighbors with the noise of their inspiration, like the
bear of Bonn. When they composed they muted the strings of their thought:
and the heavy hangings of their rooms prevented any sound from outside
breaking in upon them.

The _Schola_ had tried to let in fresh air, and had opened the windows upon
the past. But only on the past. The windows were opened upon a courtyard,
not into the street. And it was not much use. Hardly had they opened the
windows than they closed the shutters, like old women afraid of catching
cold. And there came up a gust or two of the Middle Ages, Bach, Palestrina,
popular songs. But what was the good of that? The room still smelt of stale
air. But really that suited them very well: they were afraid of the great
modern draughts of air. And if they knew more than other people, they also
denied more in art. Their music took on a doctrinal character: there was no
relaxation: their concerts were history lectures, or a string of edifying
examples. Advanced ideas became academic. The great Bach, he whose music is
like a torrent, was received into the bosom of the Church and then tamed.
His music was submitted to a transformation in the minds of the _Schola_
very like the transformation to which the savagely sensual Bible has been
submitted in the minds of the English. As for modern music, the doctrine
promulgated was aristocratic and eclectic, an attempt to compound the
distinctive characteristics of the three or four great periods of music
from the sixth to the twentieth century. If it had been possible to carry
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