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in which he who wrote the music found himself at that time. I become
confounded with his soul, and with him I pass from one condition
to another. But why that? I know nothing about it? But he who wrote
Beethoven's 'Kreutzer Sonata' knew well why he found himself in a
certain condition. That condition led him to certain actions, and for
that reason to him had a meaning, but to me none, none whatever. And
that is why music provokes an excitement which it does not bring to a
conclusion. For instance, a military march is played; the soldier
passes to the sound of this march, and the music is finished. A dance
is played; I have finished dancing, and the music is finished. A mass is
sung; I receive the sacrament, and again the music is finished. But
any other music provokes an excitement, and this excitement is not
accompanied by the thing that needs properly to be done, and that is why
music is so dangerous, and sometimes acts so frightfully.
"
In China music is under the control of the State, and that is the way
it ought to be. Is it admissible that the first comer should hypnotize
one or more persons, and then do with them as he likes? And especially
that the hypnotizer should be the first immoral individual who happens
to come along? It is a frightful power in the hands of any one, no
matter whom. For instance, should they be allowed to play this 'Kreutzer
Sonata,' the first presto,--and there are many like it,--in parlors,
among ladies wearing low necked dresses, or in concerts, then finish the
piece, receive the applause, and then begin another piece? These things
should be played under certain circumstances, only in cases where it is
necessary to incite certain actions corresponding to the music. But to
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