EMOTION IN INTERPRETATION Real interpretation, then, requires, on the part of the conductor, just as in the case of the actor, a display of emotion. Coldness and self-restraint will not suffice, for these represent merely the intellectual aspect of the art, and music is primarily a language of the emotions. This difference constitutes the dividing line between performances that merely arouse our judicial comment "That was exceedingly well done"; and those on the other hand that thrill us, carry us off our feet, sweep us altogether out of our environment so that for the moment we forget where we are, lose sight temporarily of our petty cares and grievances, and are permitted to live for a little while in an altogether different world—the world not of things and ambitions and cares, but of ecstasy. Such performances and such an attitude on the part of the listener are all too rare in these days of smug intellectualism and hypersophistication, and we venture to assert that this is at least partly due to the fact that many present-day conductors are intellectual rather than emotional in their attitude.
It is this faculty of displaying emotion, of entirely submerging himself in the work being performed, that gives the veteran choral conductor Tomlins his phenomenal hold on chorus and audience. In a performance of choral works recently directed by this conductor, the listener was made to feel at one moment the joy of springtime, with roses blooming and lovers wooing, as a light, tuneful chorus in waltz movement was being performed; then in a trice, one was whisked over to the heart of Russia, and made to see, as though they were actually present, a gang of boatmen as they toiled along the bank of the Volga with the tow-rope over their
