I
There is probably no man in America who has done more of benefit to
the profession of composing in this country than has Deems Taylor,
for through his own personal success he has both proved and disproved
certain definite impressions which have clung traditionally to the
composers’ craft, thereby clearing a path that will make it far
easier for others to proceed to worth-while achievement in what has
to date been classed as the least favored of all arts.
He has proved that well-directed musical talent, plus those qualities
generally prescribed by exploiters of success-methods, will find its
way to fame even in these allegedly cold-tempered United States.
He has proved that here a composer may raise himself by the
boot-straps and, suffering an avoidance of cheap sensationalism,
establish himself a figure in the general news of the day.
He has proved that a man may be essentially practical in his manner
of living, thinking and working and yet achieve international
distinction as a creator of highly imaginative music.
He has proved that versatility is no bar to special success—has
smashed the old saw that if you are a jack of all trades you must,
forsooth, be a master of none.
He has proved that there is a substantial market in this land of
industry, commerce and finance for products of purely artistic
calibre; that there is a living to be made out of composition.
Apply reverse English to these things he has proved by his own
record of accomplishment, and obviously your answer is what he has
disproved. Now, add the consideration that he has destroyed the
image so popularly prevalent that good composers must be æsthetic,
pale-skinned, long-haired and rather effeminate individuals,
alternately rhapsodic and morose, constantly publishing their
complaint against a public that neither understands nor appreciates
them, and the case assumes completion.