The Language

Abstract

The technique of an untalented composer is completely uninteresting, for such a person learns technique as a trade in the same way that a mechanic learns to fit a nut to a bolt. Many composers share the illusion that this acquisition of a trade is all they need in order to produce fresh, imaginative music. They forget that the formal rules of harmony and counterpoint are good only as exercises to develop ease and proficiency, but that as soon as they begin to compose, they must choose technical means that match the nature of their inspiration. Even technical terms, used so precisely in academic manuals, become debatable and open to a variety of interpretations as soon as one ventures onto the sea of the unknown.

Tell me why it is that when I hear of young artists, painters, or sculptors, I am told all about their thoughts, opinions, and goals, but never about their technique except in cases of absolute necessity? Whereas when I am with musicians I never hear an exciting idea discussed: it’s like being in school; all they know is technique and shop talk. Is the art of music so primitive that it must be studied in such a puerile fashion?

Letter from Mussorgsky to Stassov, 13 July 1872