Composers From England

"Handel paralysed music in England for generations and they have not yet quite got over him."

"Händel ist der unerreichte Meister aller Meister. Gehen Sie und lernen Sie von ihm, wie gewaltige Wirkungen mit einfachen Mitteln zu erreichen ist."

"I did think I did see all heaven before me, and the great God himself."

"I should be sorry if I only entertained them, I wish to make them better."

"You have taken far too much trouble over your opera. Here in England that is mere waste of time. What the English like is something that they can beat time to, something that hits them straight on the drum of the ear."

"Whether I was in my body or out of my body I know not. God knows it!"

"Elgar is not manic enough to be Russian, not witty or pointilliste enough to be French, not harmonically simple enough to be Italian and not stodgy enough to be German. We arrive at his Englishry by pure elimination."

"Er ist der Meister von uns allen!"

"The enigma I will not explain – its "dark saying" must be left unguessed, and I warn you that the apparent connection between the variations and the theme is often of the slightest texture."

"I always said God was against art and I still believe it. Anything obscene or trivial is blessed in this world and has a reward – I ask for no reward – only to live & to hear my work."

"People who talk of the spread of music in England and the increasing love of it, rarely seem to know where the growth of the art is really strong and properly fostered: some day the press will awake to the fact, already known abroad and to some few of us in England, that the living centre of music in Great Britain is not London, but somewhere further North."

"To my friends pictured within."

"Play it like something you hear down by the river."

"My idea is that there is music in the air, music all around us, the world is full of it and you simply take as much as you require."

"His range is so Handelian that he can give the people a universal melody or march with as sure a hand as he can give the Philharmonic Society a symphonic adagio, such as has not been given since Beethoven died."

"The aggressive Edwardian prosperity that lends so comfortable a background to Elgar's finales is now as strange to us as the England that produced Greensleeves and The Woodes so wilde. Stranger, in fact, and less sympathetic. In consequence much of Elgar's music, through no fault of its own, has for the present generation an almost intolerable air of smugness, self-assurance and autocratic benevolence."

"You've Got To Pick A Pocket Or Two"

"When Your Number's Up You Go"

"Food, Glorious Food"

"Shall I come, sweet Love, to thee, When the ev'ning beams are set?"

"The man whose silent days In harmless joys are spent, Whom hopes cannot delude, Nor sorrow discontent:That man needs neither towers Nor armour for defence, Nor secret vaults to fly From thunder's violence."

"There is a garden in her face Where roses and white lilies blow; A heavenly paradise is that place, Wherein all pleasant fruits do grow; There cherries grow that none may buy, Till Cherry-Ripe themselves do cry."

"Plead, Sleep, my cause, and make her soft like thee, That she in peace may wake and pity me."

"I care not for these ladies, That must be wooed and prayed; Give me kind Amaryllis, The wanton country maid. Nature art disdaineth; Her beauty is her own."

"Schopenhauer was not the only one of Hegel’s opponents to rest his faith in the unsayable. Soren Kierkegaard (1813-1855), in his attack on the prevailing Hegelian rationalism, sought to undermine the claim that ‘the real is the rational and the rational the real’, and so to reaffirm the value of that which, while real, lies beyond the reach of reason. But, lacking Schopenhauer’s gift of argument, and being indeed more literary than philosophical in his inclination, he did not set up any elaborate system of ideas whereby to postpone the recognition of his ultimate refuge. His principal interest was the vindication of the Christian faith, and he wrote directly or indirectly towards this end, inventing in the process the name, if not the philosophy of ‘existentialism’, for which achievement he is now chiefly known. His philosophy is a clear example of a reaction against idealism which is not also a form either of empiricism or skepticism. In the course of this reaction, it is once again the subject that is reaffirmed, as the ground of all philosophical thought."

"Yes, I am in favor of censorship, but it has to be conducted by people like me. And that's the difficulty (laughs). I'm in favor of encouraging every possible form of self-restraint and parental control. And I certainly don't think that pornography should be protected under the American Constitution."

"Schopenhauer argues that the empirical world exists only as a representation: ‘every object, whatever its origin, is, as object, already conditioned by the subject, and thus is essentially only the subject’s representation.’ A representation is a subjective state that has been ordered according to space, time and causality – the primary forms of sensibility and understanding. So long as we turn our thoughts towards the natural world, and search for the thing-in-itself behind the representation is futile. Every argument and every experience leads only to the same end: the system of representations, standing like a veil between the subject and the thing-in-itself. No scientific investigation can penetrate the veil; and yet it is only a veil, Schopenhauer affirms, a tissue of illusions which we can, if we choose, penetrate by other means. The way to penetrate the veil was stumbled upon by Kant."

"Of course, there are those — Sandel, Walzer and Dworkin, for example — who propose "communitarian" ways of thinking, as a further move in the direction which a sophisticated liberalism requires. But none of them is prepared to accept the real price of community: which is sanctity, intolerance, exclusion, and a sense that life's meaning depends upon obedience, and also on vigilance against the enemy."

"An international socialism is the stated ideal of most socialists; an international liberalism is the unstated tendency of the liberal. To neither system is it thinkable that men live, not by universal aspirations but by local attachments; not by a “solidarity” that stretches across the globe from end to end, but by obligations that are understood in terms which separate men from most of their fellows—in terms such as national history, religion, language, and the customs that provide the basis of legitimacy."

"The modern world gives proof at every point that it is far easier to destroy institutions than to create them. Nevertheless, few people seem to understand this truth."

"It goes without saying that apartheid is offensive. It was adopted, however, as the lesser of two evils. The Afrikaners believe that black majority rule has, in almost every case, led to the collapse of the constitutional government which they brought to South Africa, and upon which their freedoms and privileges – and perhaps even their lives – depend. And it did not seem so very bad to deny to blacks a vote which they would, when in power, promptly deny to themselves."

"A developed legal system, with elaborate common law rights, and supported by a system of natural justice, was the most precious legacy of our empire. If it were still permissible to defend colonization, I should justify it in terms of this bequest, and at the same time contrast the colonization of Africa with the Soviet "colonization" of eastern Europe, which has advanced not by the generation but by the destruction of law."

"Attitudes to death go hand in hand with attitudes to sex. And it is in the sphere of sex that some of the greatest of medical confusions have arisen. I refer in particular to the "sex change" – again, an operation which has exhilarated the public, with its implication that sexuality is an elaborate accident, which can be tailored to the individual need. A person's sexuality is no longer regarded as part of his essence. It has become an attribute, which he might change as he changes his clothes. The possibility of thinking in such a way shows a deep change in perception. The obligation to accept one's sex has dwindled, in the same way as the obligation to accept one's death. Consequently people call upon doctors to help them, demanding painful, expensive and dangerous operations, whose moral effects cannot really be envisaged in advance, and whose premise is a kind of delusion which, however it might arouse our compassion, ought not to inspire our connivance. No doubt the time is not far distant when sex-change operations will be obtainable on the National Health, granted on the advice of "experts" able to discern the "real" gender identity of the soul sheathed within each human envelope."

"For we are social beings, who can exist and behave as autonomous agents only because we are supported in our ventures by that feeling of primal safety that the bond of society brings. We can envisage no project and no satisfaction on which the eyes of others do not shine. We are joined to those others, and even when they are strangers to us, they are also part of us. It is the indispensable need for membership that brings the national idea to our minds; and there is no rational argument that will expel it, once it is there. Without it, we are homeless; and even if our attitude to home is one of sour disaffection, home is no less necessary to our sense of who we are."

"Race is at best an influence on behaviour, not the moral source of it. It is the individual alone who acts, and he alone who should bear the benefits and the burdens of moral judgment. In all questions of right and duty, it is both wicked and nonsensical to refer to a person's race – whether the purpose be to accuse him, or to exonerate him. To do so is to place the crucial attribute of responsibility where it does not belong – with the abstract totality, rather than with the concrete individual. The racist ignores every genuine right and obligation in pursuit of a merely abstract reckoning: he seeks to reward or punish the individual in respect of qualities which are not of his own choosing and for which he can in truth be neither praised nor blamed. It is surely obvious that racism is an evil. Even if it were not obvious from its intrinsic nature, it is obvious from its effects. Millions have died precisely because, in the eyes of the racist, they were already dead, being of "inferior" race, without rights, condemned by their very existence."

"Those critics of the nation who have seen in it the root of xenophobia and racism, have often disparaged the imperial powers of Europe for their indecent contempt toward the "natives" of their territories. A picture has developed—by no means wholly wrong—of European despots, smugly convinced of their ancestral right of sovereignty, cruelly trampling on people whom they regarded as their genetic inferiors. But these very same critics are frequently enthusiastic supporters of the "national liberation struggles," whereby colonial peoples attempt to affirm themselves as nations, and to achieve independence in precisely that guise. Of course, the new nations are not the same kind of thing as the old ones, as I have argued. But they answer to the same need: the need for a bond of membership that will conform to the geographical and administrative realities, that will permit the dead and the unborn to stand beside us, and that will define our territory as home. Now you can't have it both ways. If nationhood is a boon to the peoples of New Guinea and Peru, it must also be a boon to those who formerly oppressed them."

"A writer who says that there are no truths, or that all truth is 'merely relative,' is asking you not to believe him. So don't."

"This book is a remarkable addition to the philosophical corpus in analytic musical aesthetics. Scruton may be unmatched in his numerous use of musical examples in a philosophical text. Unfortunately, it is almost too dense and too complicated to be of much use to anyone wanting to learn about musical aesthetics. A reader would be at a loss to understand much of what Scruton advances without not only a full understanding of the history of musical aesthetics in the philosophical realm, but also a good working knowledge of music theory and music history. Also, without a familiarity of the theories of Lerdahl and Jackendoff as well as a full comprehension of Schenkerian Analysis the reader may be at a loss about many of Scruton's explanations. Thus it is not a good tool for those interested in learning musical aesthetics, but it could be invaluable to those who want to deepen their understanding of the analytic end of the field."

"Scruton is one of the best philosophers currently writing on aesthetics and few can match his deep and catholic understanding of the arts."

"Philosophers seldom devote a book to a single art; hardly ever to architecture. Dr. Scruton's book is thus most welcome. It combines wide knowledge of architecture and architectural theories, copious examples and interesting views on aesthetics... Neither architects nor philosophers can ignore this book. Though I find parts of it questionable or arbitrarily stipulative, its richness, suggestiveness and scope make it absorbing reading."

"This is an important book and one of the best to appear in a long while."

"Roger Scruton has given us a fetching book on the nature and value of architecture, one which is almost as enlightening as it is infuriating (and that's saying a lot). There is a solid structure of argument at the heart of the book, but present too are all the occasions for pleasure usual with Scruton, such as a biting polemic and a nice style."

"How, then, if music seems so self-contained and cut off from the everyday world in a way that literature painting can never be, can we engage with it so fully? And how can it be important to us? In his outstandingly good book, The Aesthetics of Music, Roger Scruton demonstrates, with all the erudition, eloquence and profound insight has become a hallmark of his writing, how an answer to the first question provides an answer to the second."

"Scruton is at his best not when he is trying to import a 'scientifically'-orientated metaphysic into a phenomenological description, or when he seems to be doing so, but when he articulates so elegantly the humanity that lies in music. "Our music is the music of upright, earth-bound, active, love-hungry beings" (p.172). This book is full of such humane insight and is for that reason, and for many other reasons, compulsive reading. Roger Scruton is passionate and knowledgeable about music. He is also something which it is now unfashionable to be—a passionate and inspiring philosopher writing about what really matters."

"Scruton does not disappoint. To be sure, niggling doubts about his purely musical analysis surface now and then. While he obviously believes his own insistence that Tristan is thoroughly tonal, it also allows him the convenience of sidestepping a number of complex musico-dramatic issues. He also resorts on occasion, for example on page 98, to the kind of descriptive jargon in which dear old Imogen Holst indulged in her hagiographical writing on Ben Britten. But there are here many quite wonderful turns of phrase that say much, beautifully, in little space. Thus, for example: "Wagner was an intemperate thinker, whose theories were thrown out from his prodigious sensibility like spray from a ship in full sail". I wish I'd written that. Scruton's almost frightening erudition is paired with an ability to explain in lucid, comprehensible prose what are in fact complex philological and philosophical issues. Whether he is elucidating the Upanishads, Schopenhauer, Kant or mediaeval epics, he never browbeats the reader, but draws him in to arguments that seem to possess a remarkable inevitability. Scruton offers a succinct tour of Wagner's sources for Tristan that is the most lucid that the present writer has yet encountered"

"In many ways the topics covered by the book are new territory for Scruton. As a longstanding admirer of his writing and, though with rather more qualifications, of his thinking, I have read a good deal of his published output over the last few years, and find new themes in this book I do not recall before. The prospect of Scruton, the defender of hunting and elegist of rural England, defending the Enlightenment came as something of a surprise, though admittedly it is a somewhat Hegelianized and communized Enlightenment. His treatment of Islamic thought and ideas, while hardly uncontentious, is clearly fed by deep thought and much reading, and, as always, he writes like a dream."

"Architecture has long lacked a satisfactory treatment by philosophers dealing with the arts. Here, finally, a philosopher gives buildings full attention. The result is an impressive and persuasive account of the nature, objectives, and judgement of architecture that has, because it treats this as a matter of practical understanding, direct and practical application, not least to modern architecture... The Aesthetics of Architecture is a remarkable contribution that should interest designers, teachers, critics, and historians."

"Roger Scruton's book [Aesthetics of Music] is the first account of music's nature and purpose — or at least the first to come my way — which attempts to explain what music is and what it is for. One reason for this is the far-ranging, wide-eyed, open-eared quality of his mind; another, more humbly practical, reason is that this may well be the only book about the philosophy and aesthetics of music that is copiously equipped with examples in handsomely printed music type... Roger Scruton's book speaks proudly on behalf of wholeness, haleness, and holiness; a beacon to our bleakness, its 'value' should endure."

"Scruton begins his book with an expert account of the origins of the Tristan story and Wagner's treatment of it. Scruton has absolute command of this material, and he eloquently organizes it around a few central points. As a concise account of the evolution of the Tristan myth, the first two chapters of Scruton's book are unsurpassed... Scruton's deep love of Tristan seems to render him blind toward the inconsistencies of the Wagnerian enterprise and the ruptures in the fabric of the Gesamtkunstwerk. Unfortunately, this blindness undermines Scruton's arguments in the final chapters of the book. In these pages, Scruton uses Tristan to pronounce jeremiads against contemporary culture, attacking (among other things) popular music and pornography. Scruton has important things to say here, and we would take him more seriously if he did not grip so tightly onto the meaning of Wagner's work. Scruton's eloquent and persuasive prose alerts us to ways in which Wagner's music cuts across the grain of contemporary notions about love and sexuality. But the ability of Wagner's work to "speak against" or to "speak across" depends at least in part to ways in which it resists decoding and presents irreconcilable paradoxes. Scruton seems unable or unwilling to acknowledge these qualities, and his work suffers as a result."

"As a critic, Scruton is perceptive and persuasive... Roger Scruton seems characteristically British, however—an heir not only of the elite, eighteenth-century Dilettanti but of popularizing nineteenth-century propagandists such as Ruskin and Morris. Indeed, there is a moralistic fervor to his evangelism, and occasionally Scruton strikes one as a new Pugin, arguing the opposite side: favoring classicism rather than denigrating it. Unlike those ardent idealists of the last century, however, Scruton peppers his opinions with articulate British wit, irony, and sarcasm."