The da Camera Music Association gave the Robert Gerhard Session this December to its numerous partners, announcing it as a great event in our small music world. Gerhard had disappeared from among us after being credited, for a few works, with an awakening musical talent of beautiful hopes. He has studied abroad for many years under the direction of a systematic reformer of music art, and the Association vindicated, in presenting him, that he was "one of the most well-trained young Catalan musicians, of a full personality". , of a more intelligently restless and refined temperament, whose name, we are sure [said], is destined to be known soon enough to those who, here or abroad, are concerned with new musical values and know them immediately attach importance to them. "
In addition, Mr Gerhard had been intervened and his statements had helped to arouse the interest of those who turned his attention to music in Barcelona. The concert took place before the great expectation of the numerous contest, and despite the recommendation made in the Association program that the public "be worthy of that moment, of such importance for the musical life of Catalonia", and that if their "understanding did not penetrate the positive meaning and beauty of those works, they would be welcomed, at least, with the utmost respect and effusive cordiality", despite such precautions and recommendations and beautiful affirmations, that audience, at first carefully, something unaccustomed to him, as the audition went on he couldn't contain the mormols and even the noise. That music does not, therefore, touch the heart of that audience.
We must confess that we did not find joy in that music either; on the contrary, we often felt discomfort instead of aesthetic pleasure. […] This system used by Gerhard's master, the Viennese composer Schönberg, is called the atonal; that is, the release of the sounds of the tonal hierarchy; release the sounds of attraction to a main sound that attracts and governs them. And without hierarchy, without affinity, or attraction, how can there be order and harmony? Every dissonance is beautiful because of the desire it generates of the consonance, as all pain awakens the vehement desire of the longed for joy. […] How can harmonic matter exist in the simultaneity of sounds without a tonal attraction that governs them, without the feeling of tonicity that determines the function of phonic simultaneity? This tonal hierarchy is as necessary in melody as it is in harmony. A melodic trait without a certain tonal or modal sense is inconsistent, it is not loose. Every tune worth it alone must make this hierarchy accurate; and if she, the melody, is vague, then it is the harmony that must be set in order to awaken the aesthetic joy. […]