New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1889-11-25
NEW PUBLICATIONS.
A CLEVER BOOK

a
THE STORY OF MUSIC. BY W. J. Henderson o'o
PIP. 212. Longmans, Green q o. ,,.
1t is a pleasure to open new pooH anu ~
on its first page that tho clearness ana s'nipe o'
of its typography has harmony III 'ne oioanos'
dircctpess and restful finish OF the "rner sN"
1t Is doubly a pleasure to find such doom uo,o'o'
10 subject like the history of music, which has Oeen
treated by few English authors whose literary sFni
can he praised by the 1udicious And IL IS ueoiS
Measure when the author Of such book Is stuoen'
with literary experience enough TO tel MN no" "
trace without dropping the golden thread when mar
the progress of principles through the great
of biographical fact sentimental anecdote and criucal
s,scnss,on which, combined, make up the body OF
,.us,cs history Such threefold pleasure we owe 10
Mr. Henderson; and there can be no Improperly IN
saving that he has also added TO the Just pde "nch
those interested in the musical journalism OF New
York felt when few months ago, they read sir'
H. T. Finck's book of musical essays. To find serious
mass knowledge zeal for high ideals and answering
devotion TO honest conviction united In the degree
disclosed by these two books from the pens OF "rc
for the newspaper press Of New-fork, Is nj cause
for public graduation. 1t sign OF the tunes "h
can only be expounded in a manner comphmen'dis
10 the culture Of the public whose taste Is commoNiS
supposed to be reflected in the chronicles anu uS'"
s,ons which appear in the daily newspaper
Mr. Henderson has accomplished with rare JUG
ment and skill the task of telling the story ol 'i
growth OF the art Of music without encuhoe'me -
pages with excess of biographical ma'er'@i .a
aimed at a connected recital and for It's sake mas
Of creative epochs and epoch-maNpg WorhS -.
than groups of composers segregated by the aco'de
:. 80. "a n,.oe His chapter heads serve as well
49, a.scrntion 20 indicate his constructive plan lHe'
are: /. @Making the Elements OF music ~ ~"
Birth of Art Melody and Secular MUSIC - -,
and Bach; " instruments ana ihs ,un' We,
Forms: V, "The Great Instrumental Mrl'ol0
q The FIRST Operac Reformation VII, from Sio]a'
r..yIo nd Opera
To thsss scnarate discussions Mr. Henderson prehAes d
Chronological table giving the year OF the chicl III
cdents in tho history of music from the orth vi s
Ambrose in A. d. 333 TO the performance ol 'oiu'
@Otellon in 1857. go -.u. &,
MIR concert rooms and opera houses, Mr. hehderson
3storyp IS chiefly admirable for It's succlnctneSS,
n.ss and cracetulness OF statement. lie makes "o
effort N inject novelty OF idea into the accepteo o
or ~ question the significance, absolute or relda'o Va
the events as chroniced by the hstonans' n4s gu
thorities seeming be RoclAstro and Naui"an ..
particular. Up TO the period "hose n'u9 .,
a nere object of study. but an experience ne IS
content 10 Jog along In the ola pans
md clear away tho underDrush ua'
100 frequently obSrncts view OF the un'e nohCreu
,nuestones On the whole this method IS cacuia'ou "
meet the needs of the ordinary student or rea"er'
though those who know what new hght mas oeeh
thrown ON some of the old problems by the German
x,s,oa,, Ambros will stil continue to long for a
history OF music that will embrace the fruits OF mooern
critical research. Mr.. Hcnderons BOOK Is SoS'
valuable and interesting In the last two chapters, wheo
ne gives place TO original analysis ana thouSht o'
naturally enough his style grows In warmth MS state
,snts IN forcellness his illustrations in pfth and
poipt Here, too. he introduces tie agreeaoe saNot
of humor at once keen and graceful His conViotaohs'
fearlessy expressed and ably upheld In argument are
all on the side of the new IDEAL IN drainaAic n"'
(Which is as old as the Greek tragedy put I'D s.ao
ment he is conservative and judicial. He has mgh
admiration for Verdi, whom be does not hesitate 10
rank among musical dramstists and 1usdhes MS posi-
ton by cogent argument, though we arc mcIheu ~
believe that the keenness Of his sense of the RIDICULOUS
has led him 10 underestimate that composers dramauc
achievements in II Trovatorc," which. he says, 10
bis mind one of the worst operas ever written. Inc
fact that in this opera Mr.. Henderson says,
"Manrico, called upon to rescue his moMer nun
the faines tarried 10 sing his hen -
and to be called out times, bowling and sinl-
ing while hts aged parent continued 10 roast unsuc-
cored" does not justify sweeping condemnauoh Oh
an opera which has moments of as genuine dismauc
intensity as any that Verdi wrote even IN AIDA
and "Otello.p As q concise summary OF Mr.. HeI1@7-
sons creed touching the province .of the opera The
following from his last chapter may be studied:
snow what Will the opera of our future be we
do not want opera without melodous singing ana
we will not that which Is mellfuous jingle With
out soul TRANSMISSION Of blood must take place some
where, for It Is not possible tha' elther herman vi
Italian opera Will retain its present constitution I'M
changed. The laws of evolution indicate our choice.
The ttest must survive, and that the musicarams
of wagner. But in progress let US add to the
unfaing vocal melody of Mozart and Gluck, ana the
skin of Italy In training voices and in writing for
them. Let US admit nothing from any source Wnicn
Is not in the highest sense dramatic. The set forms
and surprising forturi Of the Italian stage are dead
and they ought to be, for they have no place IN
dramatic expression. But wha' the Wagner theories
need in order TO make them the true foundation OF
The opera Of the future is greater proportion In the
melody