The background: Following G.L. Norrman‘s published remarks about Moriz Rosenthal, The Atlanta Journal received several indignant letters rebuking his criticism. Rosenthal then held a second concert in Atlanta, which was attended by a reader of the newspaper, identified only as “M.E.C.”
In a letter published on February 24, 1899, “M.E.C.” gave a rapturous review of the concert in ridiculously florid terms, while also swiping at Norrman. The pertinent quotes:
- “But why should we expect every artist to have in the highest degree every attribute of other artists: A man may be an excellent architect, and yet know very little about music.”
- “I had occasion several weeks ago to refer with indignation to the kind of stuff a morning paper was serving us as musical criticism.”
Always eager to have the last word, Norrman shot back with another letter, which was published on February 27, 1899. Norrman liberally quoted M.E.C.’s own words, and also took the opportunity to mock the Christian Science movement — keep in mind, he was still overseeing the construction of Atlanta’s Christian Science church at the time.
It’s probable that “M.E.C.” was Sue Harper Mims, the leader of Atlanta’s Christian Science church, a stuffy old society woman with whom Norrman regularly traded barbs.
Norrman’s remarks:
To the Editor ofThe Journal:
“I never realized until Friday, when reading the criticism on Rosenthal by “M.E.C.” the amount of delicate perception that is necessary to be a musical critic. It requires such a delicacy of perception as to be able to distinguish a half expressed passion from an expressed passion, or from an unexpressed passion. A critic who can comprehend the “half expressed passion of a Chopin” can undoubtedly comprehend “the intellectual profundity of Schumann.” A person who is endowed with such spiritual light might almost be capable of preaching a Christian Science sermon or write poetry for a young ladies’ literary society.
To an ordinary person whose spiritual understanding does not extend beyond what is expressed, music, architecture or any other art is a fine art only when it is a vehicle for conveying emotions. When art is used for any other purpose it is merely a handicraft. So an acrobatic performance with the fingers on a piano is itself no more of a fine art than is an acrobatic performance with the toes on a tight rope.”
G.L. NORRMAN