The works that produce the most traceable effects in the subsequent history of an art are not always those which come to be regarded as epoch-making.
—Donald Francis Tovey
Perhaps the most productive midlife crisis in the history of music began in early March 1880 with a sly little note written by a low-level bureaucrat to his superior at the ministry of the interior in Paris. “Monsieur,” it began, “personal matters require my presence in Bordeaux. I would be most grateful if you would permit me three days leave from the Ministry that I might settle my affairs.” There were, however, no affaires d’in- térêt in Bordeaux or anywhere else in France, as the writer then smilingly admitted.
The above explanation is just for the file! Now, because I never lie and because for this reason I have been well regarded by my superiors, I will, just between us, tell you the real truth: fo ...This article is available to subscribers and for individual purchase
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James Penrose writes about music for The New Criterion
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This article originally appeared in The New Criterion, Volume 19 January 2001, on page 29
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