New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1890-06-10

bv Iouis EpccI With Autobiocraphes of Pro-
fcssor Huxley and ProieSor ie WeI1nrg ''o
PIP. 25I. Ncw-York scrihncr " "eioru'
Uad Mr. Fnool mover written From Mozart 70
Mario we should probably never have had FROM
Handel 10 Halle: At least not under that ute.
The triviality of artistic spirit which speaks ont
of the choice of these titles, the whole purpose
OF that choice being summed up in their ALTER
a,ive effect is characteristic of the contents OF
the latter book. No would guess at the stop
ming places which this writer makes in his Il'cr-
nrv promenade from Handel to Halle; they are
indicated by the names Gluc<, Beethoven Sull-
van. Barnby Nine. Albani, Huxley, llcrkomer
and Lady Halle. simple enumeration is suiil-
Gent 10 show that of studiouS purpose or signll-
canoe other than that already indicated there
is none in the title of the book. Nor can We
honestly bestow much praise on It's contents
They will but please careless reader.
Mr. Engel is a musical racontcur whose aim is
much more TO amnsc than 10 instruct All the
anecdotes which have been related of the great
and little ones of the musical world ne has at MS
fingers ends These anecdotes. few quotations
from Goethe and Ilcne, liberal supply Of stock
French phrases and a deftncss in twisting his
subject so as TO bring his batteries To bear on
il. make m his literary equipment. The latest
book smaclls of the kind Of London Journalism
10 wlfch the writer is contributor In iac''
we fancy that a greater part of what IT. contains
is reprint from Mr. Yatcs's "WOrd ms
would not necessarily condemn it. but il modi-
6cs It's value with all such as know how muc'
the musical critic OF that newspaper prefers
dippant smartness TO honesty and soundncss Ill
Judgment and to what abnormal extent HIS
own personality is projected into 1t.
The gratitude of the reader is likely to he
kcenly awakened by the full, frank and eNpiicit
account which Professor Icrkomcr has given oil
his career from his birth in the Eavarlan lilgh-
lands grandson of a mason and son oil JoIhel'
10 Slade Professor Of Art at Oxford An ahha'ic
trait exhibited in the sketch Is the 0eNo'loh o'
the son, while rapidly winning ms way 10 '''
pinnacle of fame. 10 his old father VINO sPci'
the last wears Of his life making carVeI furniture
for the now famous house i'll Bushey y unique
norton of the story is that devoted 10 'he '"o
musical plays for which Professor ierkoiicI
nro,1dod words. music, sccnery, stage machinery
and theatre at his country home. ana NhicH
wore playcd by himself and pupils. with h'te
nrofossionol assistance His musical talent was
derived from his mother, who aided in the sup
nor, of the family during its brief solourh III
America. and afterward in Southampton, by tcach-
ing the pianoforte. II was after ne ma WIN
wealth and Fame = painter that MI heIhoi"'i
turned his thoughts ~ music. For tlH oIci''
traton of his first play, The Sorcefcr' """
plot was drawn from George Ehot HP""'"
Gypsy he had depended on Mr. carr Arhlpi"S''''
hrt whom the success of that unique venture III
the spring of 1858 impclled him To repeat 'o
exnerimcht ne resolved to write also me lils''u-
mental norts for what he called " Fciorlal-lusc
plovn which afterNaId performed under 'io
,i,Io An Idvlr He began the composition III
,bo winter of leSS-lSeY, in Germany Work'1@
on il in the evening and on Gark uaES' ~"
executions being an occasional day wnen ne he'"c'
rest from painting. Concerning his me'ho's anu
results. he says:
Soon found that writing for orchestra was
an excitement and delight well "oIUt INV D". .ro
II gives doubt, indeed, IL scoring l"l vi
~ ho acnuircd if il does not come naturally;
To me tone painting seemed IKE inc Ply 49,.
art | had 10 lessons Ill 1t, olt S'4'ncTi wy
tecbnical itics of the instruments IRON DOCKS,
studied the scores of the best composers iheIl
made a plunge for il. 1t was not very Hh1lS
that | could wait long after 1t was hnsrcu W., VIZ
fore heard il in some form NIUE NOR 'uu.H"
tbon had been hearing il in my MIND Tor months
So tried il with the string band only, WIN my
friend Joseph Ludwig rs leader, having inc WIN
inI Rnt ,he want of conductor was felt,
and so il happened that was forced WHY
nilly, 10 use baton for the ms lne III 1 my l"
How puzzled those poor MUSICIANS '". N'N
clearly enough that | ought to be able - CON
duct. and was glad 10 take Mr.. Lud"les ofcf !"
teach me how to conduct | practs'd uhfI
his tuition the piano and the first violin. played
by himself was my orchestra. Now coulu u"
it, felt sure, and soon had the iulI banq down
RUShpV
and solos. but without scenery ana action
merely to try the music i'm concert form. CON
Quoted this rehearsal with full enjoyment 20 my
self and satisfaction 10 the musicians / kho"
of no excitement so intoxicating and so ldscIna,-
ing conducting an orchestra that plays one
own music
COPY of the now sent 10 Vienna
70 Hans Richter, who had promised 10 conduc'
my performances. Asking Richter 10 Conduct Tor
me was bold step, because knew he dlshked
amateur work and curiOuslv enough, some f0ur
wears ago, after inspecting the many things thht
were going in my home, he had SAID, hall
iestingly "One thing. dear friend, ! beg Xon
won't ne%p !, baS NO Intention feH
sinninr in that direction. | spoke the truth nj
the time From the earlier pages Of this book
it will he readily seen how drifted into com
posinC music Gradually the play took shape, as
our rchearsals. which were always in costume,
took place three and sometimes four times week
through April and May; The scenery WIN us
variety of effects, all finished. and rchearscd
with nv six men who trained TO work my
lights
and the moment he came to BuShcY ana saw
my scene threw himself heart and soul into the
scheme lie rchcarsed the choruscs afresh and
rchearscd the solos He threw singular charm
on All he touched in this way, and nothing can
describe the security felt in him as n con
ductor. To the nine Representations OF " I'm
Idyl" invited some 900 peopIc; ana men
we ravc three charity for our Village NurS'
Fnnd After the last orchestral performance
Richter brought all the musicians on 10 the stage
and took me aback by making me speech IN ms
and the orcheStra'S name lie SAID ne was preJ'-
diced against my music. rs he cOuld not pcncNe
man already proficient in one ART coud turl
10 another with succcSs But all MS fcchn"s
said among other things: That first rehearsal
gentlemen. was surprise 10 rs all HIS muse -
never commonplace and nearly always Original
am sure ] express Your ideas, too, when J say
homo he will continue in music. as we shall look
forward 10 his next work with the greatest inter
est"