Then the door of the box opened and in came Mozart....He sat there and began busying himself with an apparatus and some instruments that stood beside him. He took it very seriously, tightening this and screwing that, and I looked with wonder at his adroit and nimble fingers and wished that I might see them playing a piano for once. I watched him thoughtfully, or in a reverie rather, lost in admiration of his beautiful and skillful hands, warmed too, by the sense of his presence and a little apprehensive as well. Of what he was actually doing and of what it was that he screwed and manipulated, I took no heed whatever.--Herman Hesse, Steppenwolf, tr. Basil Creighton (New York: Holt, Rinehart & Winston, 1963, pp. 240-243).
I soon found, however, that he had fixed up a radio and put it in going order, and now he inserted the loudspeaker and said: "Munich is on the air. Concerto Grosso in F Major by Handel."
And in fact, to my indescribable astonishment and horror, the devilish tin trumpet spat out, without more ado, a mixture of bronchial slime and chewed rubber; that noise that owners of gramophones and radios have agreed to call music. And behind the slime and the croaking there was, sure enough, like an old master beneath a layer of dirt, the noble outline of that divine music. I could distinguish the majestic structure and the deep wide breath and the full broad bowing of the strings.
"My God," I cried in horror, "what are you doing, Mozart? Do you really mean to inflict this mess on me and yourself, this triumph of our day" the last victorious weapon in the war of extermination against art? Must this be, Mozart?"
How the weird man laughed! And what a cold and eerie laugh! It was noiseless and yet everything was shattered by it. He marked my torment with deep satisfaction while he bent over the cursed screws and attended to the tin trumpet. Laughing still, he let the distorted, the murdered and murderous music ooze out and on; and laughing still, he replied:
"Please, no pathos, my friend! Anyway, did you observe the ritardando? An inspiration, eh? Yes, and now you tolerant man, let the sense of this ritardando touch you. Do you hear the basses? They stride like gods. And let this inspiration of old Handel penetrate your restless heart and give it peace. Just listen, you poor creature, listen without either pathos or mockery, while far away behind the veil of this hopelessly idiotic and ridiculous apparatus the form of this divine music passes by. Pay attention and you will learn something. Observe how this crazy funnel apparently does the most stupid, the most useless and the most damnable thing in the world. It takes hold of some music played where you please, without distinction, stupid and coarse, lamentably distorted, to boot, and chucks it into space to land where it has no business to be; and yet after all this it cannot destroy the original spirit of the music; it can only demonstrate its own senseless mechanism, its inane meddling and marring. Listen, then, you poor thing. Listen well. You have need of it. And now you hear not only a Handel who, disfigured by radio, is, all the same, in this most ghastly of disguises still divine; you hear as well and you observe, most worthy sir, a most admirable symbol of all life. When you listen to radio you are a witness of the everlasting war between idea and appearance, between time and eternity, between the human and the divine. Exactly, my dear sir, as the radio for ten minutes together projects the most lovely music without regard into the most impossible places, into respectable drawing rooms and attics and into the midst of chattering, guzzling, yawning and sleeping listeners, and exactly as it strips this music of its sensuous beauty, spoils and scratches and slimes it and yet cannot altogether destroy its spirit, just so does life, the so-called reality, deal with the sublime picture-play of the world and make a hurley-burley of it. It makes its unappetizing tone-slime of the most magic orchestral music. Everywhere it obtrudes its mechanism, its activity, its dreary exigencies and vanity between the ideal and the real, between orchestra and ear. All life is so, my child, and we must let it be so: and, if we are not asses, laugh at it. It little becomes people like you to be critics of radio or of life either. Better learn to listen first! Learn what is to be taken seriously and laugh at the rest."
And now I'm going to go find my old Deutsche Grammophon phonograph of Strauss's Also Sprach Zarathustra. For some reason, I feel the need to hear it.