as it would if it fed only upon itself; a new life is transfused into it, and by the addition of the alien elements which it has assimilated it will give this new life a power of universal irradiation. Urbis—Orbis. The other races recognise themselves in it, and not not only do they bow to its victory: they love it and enter into fellowship with it. This victory becomes the greatest victory to which an art or a nation can lay claim: a victory of humanity.
Of such victories, which are always rare, one of the noblest examples is, in music, the classic German art of the close of the eighteenth century. This art has become the property, the food of all; of all Europeans, because all races have collaborated in it, all have put something of themselves into it. The reason why Gluck and Mozart are so dear to us is that they belong to us, to all of us. Germany, France and Italy have all contributed to create their spirit and their race.[1]
- ↑ The first lecture of a series dealing with the history of music given in the Faculty of Letters of Paris, 1909–10.—Revue musicale S.I.M., February, 1910.
