New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1885-03-09
NEW PUBLICATIONS
DECENT MUSICAL WORKS.

RECENT MUSICAL WORKS.
@. sou of the thousands of volumes which come
.npualv from the presses OF our publishers arc ,0
,otAd 70 music that one might be pardoncd ior
greeting even q poorly written book OF hius,0"s
cr;tic,sms with pleasure provided the standard OF
judgement chosen in it were lofty and the intentions
Ioudable For "From the Tone World" series OF
essays by Louis Ehlert, translated by Helen u.
Tretbar. and published by her husband, Charies Il
Tretbar. at Stenway Hall. are called on 10 eA-
ercse charity in judgment only for the typography
and some features of the TRANSLATION. heii
Ehlert,s contributions to musical criticish are
Among the most graceful, serious ana INTEREST
ing pages in German art literature;
The author musician Oh soou
attainments pupil of MeDdelssohn and 1riehd
and associate of Tausig. He had clear and strong
convictions touching the art of his choice. an
ardent love for il and facle and lovely manner Oh
spealing about it, Technically proficient. he never
burdened his writings with pedantIc formularies'
like the majority of professional musicians WIN
bova also been writer's but aimed at laying bare
+he spi,it of the works that he discussed so that IL
might be perceived even by those whose theoretica
knowledge of music was not as great as theT love.
Gifted with a vivid fancy and real warmth Oh
feeling. he never degenerated into sentimentasf'
nor disfgured his pages with such extrava-
CANT and unmeaning bombast as seems to be
fbe natural expression of the Rev. Mr.. Hawels
in London writer who has the popular ear IN q
greater degree than any other English writer yet
is turning his opportunity to no advantage 1or the
ort All of Herr Ehlert's metaphors ana slmnes
besides identifying bis essays aid one TO under-
stand his exposition of artists and their creatohs
they grow naturally and gracefully from the
subiect under discussion. There is directness OF
association IN them which excludes all Thought OF
their use as mere ornament. For example, how eio-
oueptIy the following bit of poetical fancy pre-
sents two phases in the art-work of Mendelssohn;
All who have seen manuscript OF Mendelssohns
may know from his chirography what neatness OF m
welt Like this manuscript, so also was MS so
free from erasure and uncertainty Let US examine
Nights Dream" How gracefully the note-grapes hang
upon the treis with how pure an lhtohatloh .no
The whole And while Brentino, Hoffman and Afniin
were dependent the creatures they had 9r0auceG
Nights Dream" in no wise deraeted from the reality OF
Mendelssohns life His attention was SiSo cSe o eS
from fingers when he began 10 chsel OUT the Hges
OF Elijah and ST. Paul. and oconJure up tneif ao'e
shadows.
The essays which make up the volume published
by Mr. TIetbar originally published IN several
of the foremost periodicals of Germany. They dis
cuss Tausig Mendessohn and a complete edition
of bis works, Oilenbach and the Second Empire,
Tristan and Isolde" the first Wagner festival at
Bayreuth Schumann, Volkmann and Chopin, be-
sides few MINOR subjects. The most valuable
Chopin by reason of their clear presentment of the
artistic traits of these men and their work The
few turnd sentences in them are due TO the trans
lation. This, while generally correct is sometimes
ungraceful. by reason of the retention OF German
idioms aad such evidences of want Of facility IN
writing as the con lual use Of that" for which"
Inelegancies of this character ale further empha-
sized by awkward usage In respect OF the punetu-
alton marks.
I had An
of Meditation by means of Universal Formula
by J. H. Cornell. Mr. Cornell is among the best OF
our musical theoreticians and has figured before as
n writer of text books harmony, his system
being based on that OF Professor Weitzmann. ms
last publication must strike one as unique IN this
regard that it is designed confessedy for pupils in
music who study harmony and yet never care to
make use Of their knowledge either In composition
or improvisation. These, slr. Cornell thinks, may
find some pleasure IN aggressive meditation. which
he shows to be a purely mechanical thing. with
in the reach; of ALL" Plainly Mr.. Cornell
does not think little learning danger
GUS Still, if some OF our amateur
and even professional pianists will make use OF
his simple system aud learn how 10 bridge over the
space between successive pieces III different Keys
without outraging the of the public, he viii
deserve the thanks of all musicians. Mr. Corners
exposition is clear and concise.
both undoubtedly to fill wants IN the Protestant
churches in the country. The first is entitled
"Laudcs Domini Selection of Spiritual Songs,
Ancient and Modern," and is a continuation of the
Century Company's Spiritual Songs series which
has the laudable aim to lead the tastes of congre-
cations and choirs toward CHER class of lyrics
and music than has hitherto found acceptance
in the churches" DR.. Robinson, we believe,
has the credit of having made this
compilation, which is so good that it can be con-
mended with cheerfuness, as can also the typo
graphical style of the book. The "Hymnal Com
panlon TO the Prayer Book" compiled by James a.
Moore. with the barmonles revised by w. w. Gil
christ comes from Oliver Dltson 81 Co., of Boston.
In this we observe more pronounced striving for
new melodies. and the result is not unqualihedly
good The manner in which the tunes are printed,
moreover, with words between the slaves, VIII
be apt to embarrass unskilfu readers.
Various settings of the "Te Deum Laudamus."
"Benedictus," "Magnifcat," "Nunc Dimittis and
other portions of the Episcopal service have been
gathered together by Mr. s. Lasar, of Brooklyn,
under the head Ancient Cantcles Of the Church."
and the Rev. Charles Cuthbert Hall has written a
brief Introductory note to the book Antiquity in
this collection is associated only with the text
since the bulk of the music is by such modern
writers as Sullivan, Goss, Smart, Ouseey, Stainer,
Tours and Wesley. simple enumeration of these
names will convey clear idea to church musicians
of the merit and style of the settings. The typos-
raphy Of the book is tasteful