New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1888-07-02
NEW PUBLICATIONS.
SIR GEORGE A. MACFARREN.

ADDRESSES AND LECTURES by George AicSanocr
Nacfarrcn. svo., PIP. cs2 London: Longmahs'
Grecn q Co 1888
This volume contains ten addresses delivered by tho
iso Professor of Music In the University OF Cambridge
and Principal of the Royal Academy OF Music ana TWO
lectures ono the Lyrical Drama and ono oil ahuci
ard Bach. The addresses arc those which he dc-
lyetcd to the pupils Of the institution over which ne
presided on tho opening OF the Acadcmical years rom
1878 so 1867 Inclusive, and arc moro likely W w
preserved as souvenirs Of ono who Tor many years
rcyrcsentcd Great Brtan's Hottest attainment III 'no
department Of musical science and admiicu ior INC
elegance of their style than seriously valued Tor the
contributions which they mako 10 contemporary
thought.
IL tho personal and artistic character OF Sir George
A. Mscfarrcn there was much that was admirable and
that brought dignity to The institution with whch nc
was connected pupil, professor ana principal
through the greater portion OF long ana eAcecohsS
active life.
The stcadfastness with which he hold up classic
models and high aims to his pupils. and the lovely
enthusiasm with which be always spoke OF tho uni
vcrsally accepted law givers in his art prove him 10
have bccu a man Of most serious purpose IL Is ih-
possble however, for thoughtful and DISCRIMINATING
observer escape the conviction that he put great
,acle tho way Of his influence by adherng s.ouy
10 conservatism hide bound that 1t seemed pased
on willing and Intentional ignorance OF the character
md nnr,osos OF the modern school It IS indeed
passng strange tina. any aspiring to the leadership
~ musical thought in this decade should DO Willing 10
exhibit such short-sighted conception OF "agners
aims and the means which he used to aualn
thcm as mark the inaugural address
of 1888 and the lecture tho Lyrical Drama printed
in this volume. In the address, which was the nrst
after the Death OF Richard Wagner, that composer IS
snohcn of as ono "whose genius has been msappiied
and whose works are to be studied rather In the sense
OF what to avoid than what TO follow"
There may be sense In whch IL
would be possible TO enforce such lesson
as this but that the speaker far from approaching
It is evident enough from the Circumstance that of the
three things which no condemns in Wagners art great
est stress Is laid upon HIS orchestration, which Sir
George finds utterly devoid of all variety except that
(which is made by striking more forcbly or less
forcibly on the planoforeof loud and less loud-but
the constancy of the same tone OF brass ana reed IN
str,ments prevails from beginning to end and with
such indstInctness Of part-writing that, when the
music has been committed TO memory by listener, he
cannot in many instances, trace the clements OF the
score. Mozart Sir Georges model in the treat
ncnt OF instruments. Sir George A Macfarrcn died
the last day of last October He has been succeeded
as principal by A. c. Mackenzie, whose libcralty
promises Of usefulness to the Royal Academy
How different his views the subject just Ic-
fcrred to may be guessed from recent utterance
In his first inaugural address Dr. Mackenzie said that
while he not likely to forget to take the orchestra
through the orchestral works of the great masters IN
music, he meant put before them some examples OF
modern work with which he wished them to become
familiar There were some works by Raft, Brahms ant
Ivorak which would answer his purposes at present
and future choice would be governed entirely by the
growth Of their ability TO master the practical diff
cutes well to understand the Intellectual quail
ties Of those compositions with which sooner or later
thcy must form an intimate acquaintance He wished
to give all the students an ample opportunity o.
studying the of the masters, ancient and modern