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And Ornstein's music is the music of a birth that is the tearing away of grave clothes grown to the body, the clawing away, stone by stone, of the wall erected against the call of experience which was sure to be death-dealing.
What this new period of Ornstein's composition represents it is not easy to say. Probably, it is a period of transition, a time of the marshaling of forces to a new and fiercer onslaught. Such a time of gestation might well be necessary to Ornstein's genius.
They have none of the unity and variety and solidity of the "Papillons" and the "Carnaval" of Schumann or the "Valses nobles et sentimentales" of Ravel, for instance, works to which they are in certain other respects comparable. As he grew a little older, Ornstein's nature probably began to demand other forms beside these smaller, more episodic ones.
Among Ornstein's compositions there are: Two symphonic poems, "The Fog" and "The Life of Man" (after Andrev); a Piano-concerto, Opus 44; a setting of the 30th Psalm for chorus; a Quartet for strings, Opus 28; a Miniature String-quartet; a Piano-quintet, Opus 49; two Sonatas for Violin and Piano, Opera 26 and 31; two Sonatas for Cello and Piano, Opera 45 and 78; Three Lieder, Opus 33; Four settings of Blake, Opus 18. For piano solo: Sonata, Opus 35; Dwarf Suite, Opus 11; Impressions of the Thames, Opus 13; Two Impressions of Notre-Dame, Opus 16; Two Shadow Pieces, Opus 17; Six Short Pieces, Opus 19; Three Preludes, Opus 20; Three Moods, Opus 22; Eleven Short Pieces, Opus 29; Burlesques, Opus 30; Eighteen Preludes
He may again be seeking to find himself in a world grown different. At the same time, there is a distinct possibility that the present period of Ornstein's composition is not a time of preparation for a new flight. There is a distinct possibility that it represents an unwholesome slackening. After all, may it not be that he has flinched? Stronger men than he have succumbed to a hostile world.
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