New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1886-04-18
A HISTORY or MUSIC.

dying in 1850 at the age OF seveDtv-eight.
A HISTORY or MUSIC.
WITH THE MODERN ORCHESTRA LEFT OUT.
A GENERAL HISTORY OF MUSIC. from the Infancy
OF tn, Greek Drama to the Present Period BY ". :.
RocKsTRO. 8vO. PIP. XIV, DO scfipher q "ehord'
Mr.. Rockstro is a good writer upon musical sub
iects Is he proved by his lives of Handel and Men,
delssohn and his many excellent contributions to
Groves Dictionary of Music" He is an educated
musician. having been a pupil of Menielssohn ana
Hanptmann ut Loipsic he has made a deep study
of the history and literature of the art ; and he
possesses literary aptitude quite uncommon in
the musical profession. By this we do not mean
that he exhibits any special graces OF style, but he
has gift of literary construction, tpgether Win
an ADMIRABLE cearncss and precision OF expression
His writings show the neat and firm hand oil
skilled workman. He states that he undertook the
present publication for the reason that there is TO
volume of moderate size, embodying the entire
History of Music, available at the present moment
to the English reader" This is remarkable dec
laIaton, because DR.. +. l.. Rtters History oil
Mnsc.n published both in this country and N
London contains abont the same amount OF matter
as Mr. Rockstro's. covers about the same ground,
and meets the wants of about tie same claas Of
readers The later writer may think that he has
surpassed his predecessors in some respects he has;
but DR.. Rtter's book is recent that Mr.. RockstTo
can hardly be ignorant OF its existence.
Mr.. Rockstros arrangement of his material is
systematic and effective. His method of treatment
is mostly biographical, but he groups his composers
so well according to the art principles regulating
the successive schools that we can trace the pro-
gressive development of music more satisfactorily
in his pages than in those of any other popular
writer in our language. The essential differences
between the pOlyphonic and mOnadic schools the
invention of part-writing the characteristics of
Palestrinas REFORM IN a word the whole course OF
transition from the ancient and mcdiaval to the
modern world of music will be found set forth with
admirable simplicity and drectness the pages de-
voted to Paestrina being particularly good. There
are excellent accounts also of the early operate
composers. and of the lines upon which the lyric
drama was gradually formed. The great masters of
modern music are treated with a brefncss which
may cause some surprise and there is little attempt
to anayze their special achievements or to describe
their styles. Handel. Bach. Haydn Mozart. Beetho-
yen are all generalized loosely that they appear
indistnct and the fault is still more observ-
able in the discussion of the musicians OF the
second rank who succeeded them. Mr.. Rockstro
will probably say. however, that he has stated the
position of these composers correctly. and that the
plan of his work did not require him to enlarge
but not convincing. 1t is of little consequence
bow Bac1 Handel. and Beethoven stand with re-
spect to other composers or how the systematic
historian shall classify and label them 1t is of
high consequence to know the elements of their
greatness and to understand the peculiarties of
their manner.
In the case of of the great masters Mr..
ROckstrOs deficiency of Characterization is part Of
a general fault which runs all through the book.
music The history of one or two instruments is
indeed sketched rather huredly but the history of
instrumental music lie has hardly touched. He
merely glances at the symphony, and he wholly
negects the modern orchestra. Thus the most
rema k:ble tendencies OF ths music of the niue
tenth century escape him. The development of
the symphony, the creation of the classical Orches
ira the invention OF new devices OF instrumental
ton, have thrown open to rs 4 realm oil splendor
which the older masters never imagined. Music
has taken holder tights sounded deeper passions.
reveled in more intoxicating fanc,> it is NJ
longer hampered by difficulties of expression; 1T
has found voice for its most exquisite reycrles or
It's widest and most imposing transports. NOBODY
who studies the art of the last half century can
fail to that the of the orchestra is making
profound change in the spirit of the opera and the
song, we'll as of the forms intended fol the or
chcstra alone that it is extending the entire range
of music, drawing within its reach u new order OF
beauties and making it capable of new strain Of
emotion. Unless realize this 1t is impossible
to comprehend the course which music has taken
| since Beethoven, to comprehend Beethoven him
sell, OF Gluck Mozart. or Schubert, or Weber, or
| Schuman or the later schools or to realize the
gores and prospects of the art at the present mo-
ment.
| Mr. Rockstro treats the English schools of music
| with generous attention; more than they deserve,
| but not more than an Engshman may he excused
for giving them. lie writes of Wagner and the
| other lights with comnondable freedom
from the preudces which abound in his island !;
but IN these days Wagner is likely to be rated
too high than too low. The notice of BeIlloz is
| singularly inaccurate. " Renvenuto Celllni was
not his only opera he wrote four and 1t is Ger
tainly not that 10 left lasting i'm pressIo
either upon dramatic instrumental music"
| lie made no immediate impression upon French
art, but he has had influence upon instru
mental music which, beginning late, went on
increasing almost to the present time and IS
still powerful. If Mr.. Rockstro that Berioz
| had 10 permanent influence upon musical forms,
hls opinion is just but his brilliant and
discoveries in the treatment OF Instruments gave an
! Impulse to orchestral writing which no musician
| will question.