ECONOMY OF EXPRESSION [To the Editor of the SPECTATOR.] Sin,—Mr.
I. M. Parsons makes a true point when he speaks of Mozart and Marvell. in the same breath. All he .instances of the poet could be instanced of the musician. But when he alludes to Purcell in connexion with the other kind or economy " which Housman practises I cannot follow him.
He says that " Purcell, with his intimate personal rhythms- and pungent phrases, achieves much of his effect through a series of associated images." The last phrase (" associated images ") applies more to the graver music of Bach, especially, the accompanied vocal music, than to Purcell ; though it applies to Purcell in a measure, of course. Probably without intending it Mr. Parsons in his little article gives a clue to the entire nature of music, the office of which is to induce his " large-scale emotive reactions," and little else.—I ani,
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