The Ottawa free trader. [volume] (Ottawa, Ill.) 1843-1916, 1874-09-19
MUSIC OF THE FUTURE.

W "oHN' ''' 80 '''''N ''''h'Ni WV PlOpb'l "
the musical future. How far, however II,
comprehends the vast progress that is to tax,
place in musical art within the next hundred
years may be gather from the annexed vision
of what is to be, which is taken from the New
York Ecentag Past, which paper makes tn,
| following predatory explanation:
Enterprise is the secret of successful Jour
nalsm We feel that We cannot find Suff
cient praise for our own enterprise in sccur
ing, SO tar in advance, the proofsheets of the
following article to appear in the great mus
zeal journal of New York on the 14th of De
cember, 1895. Newspapers conducted in tn
old stylc-always running in the same rut-
and devoted only to the publication Of fact.
and sensible comments are stupid" as every
body knows or ought TO know i'm these pro
gressve times. What the people want is
something new and fresh. /: would be un
just, however, to take the whole need OF
praise for securing this admirable picture OF
artliie in the twentieth century entirely tc
ourselves, and to publish it without ackn0yl
edglng our obligations 10 that comclv and
volatile ghost, Miss Katie King Eds. Ere
ming Past
What dwariish minds, what incompctencc
are shown in the writings Of the musical crit
les of the last century! We can but smile as
we read long articles from musty old newspa
pers and magazines on the subject of music
written in an old-togy style, praislnr and
eXtOllng to the very skies those old, forgotten
nonentties, Bach, Beethoven, Mcndclssohr
and Wagner. We wonder what these critics
and what those who thought that musical arr
had reached tn: eliminating point in its his
tory when Wagner appeared would think
and say could they hears performance in one
of our COnCerl-rOOms or opera houses. Per
haps they would be unable to appreciate oul
modern compositions. The development OF
the human race during the last hundre,
years or so has no doubt given lis stronger
nerves; but could they listen TO one of our
great compositions, with all the additions OF
the newly invented instruments, those old
iogy writer's would indeed think their ideas
of the Emusic of the future" as they were
wont to style anything that was incOmprchcn
Siblc to them, were very vague
We attended last evening the iOur hupdrcl
and twcnty-Seconi performance of Horrid
noises great symphony opus s,42U, and af.
ter this number of hearings VIC repeat our
words, written some weeks AFRO according In
the eminent composer all the praise in our
power, fnding only 4 little fault with him for
the construction 0t the tittiCth movement. \,
our previous writing was only notice oftilc
WORK, prcicrrng 10 hear it many times Def re
entering upon an extended criticism. we rive
below detailed description 10 our readers IN
New York, and also Tor the; benefit of our
subscribers in the moon who have been nm.
able 10 visit Us this season, owing To the eN-
orbltant balloon rates. We are happy Ia IN.
form the latter that lIurridnoisc purpose,
treating them To Il performance Of his work
a. soon rs the large balloon necessary 10 carry
: l,.. ip.t
whistle is finished. lIorridnoisc takes for
his idea in the work the combination of the
obsolete" with the density OF the air lust be
low the north star, combining the two with
the superiority of man over the inScc, race
We see that the subject admits of great and
broad treatment, and We accord t. the emf.
ncnt composer much praise, our only disan.
pointmcnt in the work being, as we remark
ed before, In the fiiticth movement
The first twcntv-SiN movements Occupvinr
five days and cighty.rhrcc minutes in ncrlur
nance, give great evidence of the comnoscr's
genius From the opening chords lin VI Hat
major the mind is at once directed toward
the advent of that exquisite harmonic treat
mcnt OF the theme that follows lin q minor,
laliln" on The ear so evenly and gracefully
lint We regret that We have 10 part with il so
soon mat The composer has used the great
,A''"''''''' az wv d'N'Hlci parts oil INC il
26i measures we have heard some complainrs
hut - firm and square is the RHYTHM the oh
Jcct beng In convey 10 the mind the rradual
proximity ni The obsolete To the vapory ether
through which il ! PASSING that We 1rr Sa,
i,iied that the use of the instrument is allow.
able. In smaller hall the effect mIrh, he
Differed but in This great apartment. The
iloor al which l. ihriy,wo miles l1ur The
object IN The composers mind cNpl3in, itself
The progress from the chord IT the 3lg in
the eighteenth movement 10 the diminished
chord of y Hat major j. one .r lie finest cf
iccl> W. - FAR find. The wall of The c,,,p,e
Ter, dl>lahily heard through the hcuvv lind
that cmlnaic> from the rock and wool ip.tru.
mcnt,, The magnificent roll OF ,nb. onJ he
final rrycr>!on to "ihc obsolete" movement nr
the first treatment bring u, 10 the ,urnty.
seventh. From thence tn the Gi'y. .o,cnib
We are ip prepare for len lays of rninvmcu,
The great hall j. now filled tn nvrrl5winr
presenting "a seen, such "a, Wnulg ..t,uf-l
that nearly fnrgu,j,u. Wagner. who's lnp,,
c>t work ,wc read required only tbr.. ,,isb,.
for H. performance. Zach person hq. hrnn.,b,
food tor ten days, AMI here We are. r.a.5,' In
the thirty movement, If this Great MI
music such a- .hr world seems u Inv. hen
made tor How exquisite are thr ,,,.D,p',
har--i'1,l ami rrpr'rn'ru' with riri i,.,r,i
m.u'.'iuu' lluTi 'uni.u Lg- 'l>..i ri,.. NM.