Excerpt from The Growth of Music, Vol. 2: A Study in Musical History for Schools
In this second volume I have followed the same selective principle as that adopted in the first, but the material with which it is concerned has reversed the problem and made it more difficult of solution. Whereas in describing music of the sixteenth and seventeenth centuries the difficulty was often to find examples for discussion which young people would be likely to hear performed, when we come to Haydn, Mozart, and Beethoven there is such a mass of things which they are certain to hear sooner or later, and about which teachers might be glad to have some guidance, that it has been hard to know what to pass over. No doubt it will often happen that a teacher who is going to take pupils to a concert will look in vain for some remarks about a particular concerto by Mozart or a quartet by Beethoven with which to interest them in what they are to hear. Such remarks have their specific value, but to have tried to supply them for the majority of well-known works in chamber and orchestral music would have been to turn aside from the main object which this series of volumes sets out to reach.
The object has been to build up a framework of understanding by which students can appreciate the characteristics of the great composers, see how they influenced one another, what outside circumstances affected them, and why it happened that they produced work of one kind or another. When the framework has been raised the place which individual works take in it will become clear, and the experience gained by the study of one work can be applied mutatis mutandis to another. So although there is frequent reference to the concert room and what may be heard there, I have drawn most of the examples for special study from works which may be played on the piano either in their original form or in arrangements, and have relied primarily upon that kind of illustration.
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